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te All coated paper used in printing this book is 
| AicreTtrE ENAMEL Book Ss 
made by mop 


Tur CHampion Coatep Paper CoMPANY | 
. * Hamilton, Ohio, WS 75 


COMMERCIAL 
ENGRAVING AND 
PRINTING 


A Manual of Practical Instruction and Reference Covering 


Commercial Illustrating and 
Printing by all Processes 


FOR 


Advertising Managers, Printers, Engravers, Lithographers, 
Paper Men, Photographers, Commercial Artists, 
Salesmen, Instructors, Students and all 
Others Interested in These 
and Allied Trades 


By 
CHARLES W. HACKLEMAN 


Printed in U.S. A. 


PUBLISHED BY 


Commercial Engraving Publishing Company 
Indianapolis, Indiana, U. S. A. 


SECOND PRINTING, REVISED 


CopyricHt, 1921 anp 1924 
By CHARLES W. Hackteman 
INDIANAPOLIS, INDIANA, U. S. A. 


(All rights reserved) 


All coated paper used in printing this bo 
AIGRETTE ENAMEL Book ya! 
made by 


Tue CHAMPION CoaTED PAPER COMPANY — 
Hamilton, Ohio, Ges 4 


THE GETTY CENTER bie 


hed ig , ice der xt Piemany 


when placing an order for a photograph, drawing, printing plate, 

piece of printed matter or any of the many items connected with 
illustrating and printing, is to avoid delays and misunderstandings, to 
save money and otherwise contribute to the mutual benefit of buyer 
and seller. 

It has been the aim in compiling COMMERCIAL ENGRAVING AND 
PRINTING to assemble in one volume, conveniently arranged, a fund of 
non-technical, practical and trustworthy information, illustrations and 
other data pertaining to the engraving, printing and other allied trades. 
This is designed to be instructive to the novice, and helpful to those 
who buy or sell printed matter or any of the materials entering into 
this product, and to assist in a small way in standardization in the 
making and handling of orders. 

With this information at hand, the buyer, though not familiar with 
every one of the different steps necessary in the various processes, will 
be sufficiently informed to appreciate more thoroughly the equipment 
necessary and the labor involved in producing his work, and will con- 
sequently see the reasonableness of a just charge for the service ren- 
dered when the bill is presented. 

The different processes of engraving, printing and kindred work 
covered herein are all ‘‘made to order’ lines of manufacturing. The 
finished product can not be taken from the stock room and delivered 
on receipt of the order, but the entire work must be made up after the 
order is received. Poor work may be done hurriedly, but good work 
takes a reasonable amount of time, and it should also be remembered 
that there are probably others whose orders were placed in advance 
of yours. Also one must be considerate of the unexpected and unavoid- 
able difficulties which arise. 

Incidentally, it has been the aim to illustrate as many ideas as 
possible—not to be copied, but to give the user of the book a variety 
of ideas from which he may make a selection as a basis on which to 
work or to aid in developing an idea of his own. Every one appre- 
ciates the advantage of original and specially designed engraving and 
printing over the stock design or unillustrated printing. 

To facilitate correspondence relative to orders, each illustration 
has been given a number, and where subjects have been grouped each 
may be identified by the key letter. These designations and the notes 
explaining how each illustration was made, make it possible for one 
to know just how to proceed to obtain plates to produce similar results, 
and it all may be done with certainty, without cutting or defacing the 
book—by simply giving the correct figure numbers, or figure number 
and letter and specifying size, screen, or such other special instructions 


|: is at once apparent that to be able to express clearly one’s wants 


6 FOREWORD 


as necessary and mentioning COMMERCIAL ENGRAVING AND PRINTING 
when placing the order. 

Many of the illustrations herein have been made in a small size in 
order to conserve space, but in ordering engravings it is recommended 
that sizes be as large as practical in the space to be used. 

No attempt has been made to maintain uniformity of style of en- 
graving. In fact, some effort has been made to avoid it, in order to 
show as much variety as possible and thus give users of the book a 
larger variety to choose from. 

An endeavor has been made to give facts without preference as to 
any process, method of handling or material; the choice of these being 
left to the reader. The purpose for which work is to be used should 
be the principal factor in determining by what method it should be 
produced and in deciding on the expense to be incurred. Obviously 
it would be folly to plan and execute an elaborate piece of matter when 
only a small edition is to be printed for ordinary use. On the other 
hand it is a good business investment to pay all that good designs and 
the best processes and workmanship demand in order to get an effec- 
tive illustration for an advertisement on which perhaps several thou- 
sand dollars may be spent for its insertion in leading magazines, or 
for its distribution by other means. 

Good, bad and indifferent illustrations are produced by all proc- 
esses; hence the proper selection of the process does not always insure 
good results. The basic principles in making plates for illustrations— 
as well as in the processes of printing and binding—are the same in all 
shops, whether large or small, good or bad. The result achieved 
depends largely upon the skill of the workmen and the character of 
the organization handling the work. 

Quality—and by quality is meant excellence and not grade, style 
or finish—should never be lost sight of. The finished product that 
does not appeal to the eye through good paper, good printing, good 
plates, and good binding, will probably never gain the attention the 
text really deserves. Poor illustrations alone are often sufficient to 
account for unsatisfactory results. 

Copy, as referred to herein, is the material that is furnished to be 
reproduced. It may be a mind picture, described verbally, a manu- 
script, rough pencil sketch or drawing, pen drawing, wash drawing, 
photograph, retouched photograph, crayon drawing, print from half- 
tone or other engraving, oil painting, or the original article itself. It 
may be necessary to convert the original copy into another form of 
copy before it is finally used for reproduction, but all of it will carry 
the name of “copy,” including the finished copy from which the 
engraving of whatever kind is made. 

While only one kind of each type of machine is illustrated, there 
are, in most instances, those of other makes to be had. Also there are 
other machines and devices used in the production of special work, 
or to improve quality, or to increase quantity that are not shown. 


Pages 1 to 16, inclusive, are printed on 25x88—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


(Jontents 


COPY AND ITS PREPARATION 


PAGE 
Mera Gr CT HOTOCRAPHY sane wae Mncis tne mye tee oo be an ae 9 
OS OEE CDSS 0 gy en Sipe 53 
SPR EG GE-SORIES 65 oe a tes he eee ee 57 
RETOUCHING, ALTERATIONS AND GROUPING OF PHOTOGRAPHS.. 75 
os TRESS 9 2 ee eae 110 
TU he oe he ec he ewe ae (ei 
WU POP a ROATMENT <p. 05 fof ce ee eet we ee hae 

RELIEF PROCESSES OF ENGRAVING 
AND PRINTING 
"coon 00 SSO pa he 217 
Loge aot NG rr eee ee Bat 

Smal 1 ce el Mm es ne 242 
Seer CRG UEORSRIGATIOS 0. 0. Fs gi ee 5 ee ee 276 
MO PUN GRATES 2... ceils ee ee a ee eee 301 
(ONE RAL PHOTO-E.NGRAVING INFORMATION....0.......++-5+. 324 
UMMM TESS 0... ek hee i pe Se we ow ee toes oe ey 342 
I GING lal a ise a cues oa e gitapnles ola ee g's bere aes 369 
SE PING Re ki. elas bse Ge Os a eyes pa a ale es 376 
I Ps es le doe See's we sate Os Hae esl 382 
Per tO VIOUNTING PLATES. 2.02.53... cms eee eee ees 384 

MURINE SELGRINTING. 6c Gas cae ee ee ER Dee es 399 

SURFACE PROCESSES OF ENGRAVING 
AND PRINTING 
lene PHY AND OFFSET PRINTING. .. 2.2.00. 26 sees eens 483 
en ATING ROCESS 5... i bee ee ee eee ee ee 520 
INTAGLIO PROCESSES OF ENGRAVING 
| AND PRINTING 

@orper PILATE ENGRAVING AND PRINTING.....:..-.01--.-.4- 525 
STEEL PLATE AND DIE ENGRAVING AND PRINTING............ 548 
SUT At ee oe 8 ae ying te Rings cae ote ane a gamete 559 


SM VALTHOLOGRA VURE «0. ques os apes beyiuengel s Ob Sk oe cue elle cere 566 


8 CONTENTS 


MISCELLANEOUS 


| PAGE 
PRINTING INKS AND THE HARMONY OF COLORS............... 574 
EMBOSSING, STAMPING AND CUTTING DIES) 9). =e 591 
Music ENGRAVING AND PRINTING.) 2 608 
POSTER MAKING...... 6005050020 02 ser 612 
ENVELOPES. 0.060060. 0 eet ee gp ee oe rr 617 
PAPER... ou hs ees ke ee ee ee ee 625 
BOOKBINDING...0.66. 0055 cece ee aed) 673 
PATENTS, TRADEMARKS AND COPYRIGHTS.................. eee 
MAILInG Lists AND POSTAL INFORMATION.) ,...) 200 735 
CARE AND FILING OF PLATES AND: COPY.°. >... 3a Phat, 
APPENDIX, fo. ce 5 by bp seems a et ee 791 
LEADING TRADE AND CLASS PUBLICATIONS |, 2200s 808 
ADVERTISEMENTS. 6.0. 00g 4 0 oe us ulsis om Se ee 821-838 
INDEX. oo 6 ce hee ee ees ee ee err 809 
INSERTS FACING PAGE 

PRINT MADE BY THE PHOTO-GELATIN PROCESS............. 520 
STYLES OF COPPER PLATE ENGRAVING. |... Joe ee 536 
PRINT MADE FROM AN ENGRAVED COPPER PLATE........... 540 
STEEL DIE ENGRAVING AND EMBOSSING: |... 2.255 548 
PORTRAIT FROM AN ENGRAVED STEEL, PLATE) >= eee 552 
PRINT MADE BY THE PHOTOGRAVURE PROCESS) =e 560 
PRINT MADE BY ROTARY. PHOTOGRAVURE.....) 568 
AN EXAMPLE OF ROUGHING OR. STIPPLING, . 5 3.3 eee 678 
A VARNISHED PRINT... o,55 55.5. .0. +. 44 Oe 680 
RULED. FORMS «000 600000 Wa oa oe oe 682 


*Fig. 20. 


HE value of a commercial illustration is determined by its worth 

as a selling influence. It stands to reason, therefore, that a little 

extra time or expense in procuring the best possible photograph— 
when this is the basis on which the illustration is to be built—will, in 
most cases, prove to be a paying investment. 

There are probably more poor halftones chargeable to poor photo- 
eraphs than to any other cause. It is, of course, impossible to obtain 
as good a photograph as might be desired in every instance; but there 
would be a noticeable improvement if every photograph were made as 
perfect as conditions would permit. 

In the production of an ideal piece of work of any kind, it is 
necessary that every step leading up to that ideal be taken in an ideal 
manner. To obtain the most perfect reproduction from a photograph 
at the lowest cost, the customer must do his part by providing a sub- 
ject as nearly ideal as possible for the photographer; the photographer 
should do his part of the work in an ideal way, and this will give the 
engraver an opportunity to complete the work in an ideal manner. 

In order to be certain of a thoroughly satisfactory photograph, the 
handling of the work must not only be taken care of properly from 
start to finish, but every detail in the equipment must be right—the 
camera, the lens, the plates, the printing paper, etc. 

Where circumstances will permit, the best results will be obtained 
with the least trouble and expense, if the work is done by a first-class 
commercial photographer, one who is experienced and a specialist in 
this particular line of work. While some photographers who specialize 
in portraits have the equipment for commercial work, many of them 
are not prepared to handle it outside of their galleries, or even to 
handle certain classes of work in their galleries. 

The hand camera has its place for amateur photography and can 
frequently be used to good advantage in collecting data, but it is 
usually more expensive in the end to attempt to make engravings 
from its product than it would be to get a good photograph from a 
professional photographer. 


*Square halftone, no finishing line, 150 line. A miscellaneous lot of 8x10 photographs was arranged on a table top 
and a photograph of the group made from an overhead rigging. The gray border and lettering were drawn on the photo- 
graph from which the halftone was made. The halftone screen in the white of letters and background was eliminated by 


first outlining with a tool and then routing. 


10 COMMERCIAL ENGRAVING AND PRINTING 


Where the services of an experienced photographer cannot be 
obtained locally for photographing heavy machinery, or subjects on 
which there will probably be a great amount of retouching, a few 
dollars extra expense in getting the services of an expert photographer 
from a nearby city will prove to be money well spent in the end, as the 
foundation for a good machinery illustration is the photograph. Many 
poor photographs cannot be put in proper condition, regardless of the 
amount of retouching. 

Manufacturers who have many photographs to make often arrange 
skylights in their own plants, instead of delivering their goods to a 
commercial photographer; and, if they are not equipped to do the 
actual negative and print making, they may have the photographer 
come to their plant to make the negatives, the developing of the plates 
and printing of the photographs being done later at his own shop. 
This saves crating and shipping of goods, and if proper lighting and 
spacing arrangements are made, the plan is entirely satisfactory to all 
concerned. 

CAMERAS 


Cameras of many different designs and sizes are required to meet 
the demands of different classes of work, such as the view, commercial, 
postcard, studio, banquet, laboratory, photomicrographic, panoramic, 
Cirkut, sky scraper, lantern slide, stereoscopic, reflecting, moving pic- 
ture, copying, reducing, enlarging, etc. 

The view camera is usually of light construction for convenience 
in handling and is used in connection with a tripod. A rising and 
falling front is used, and in order to accommodate a long-focus lens 
the bellows is long, and made tapering so as to telescope when folded, 
which allows the camera to close up completely, and permits of the 
use of very short focus lenses for wide angle work. It must also be 
equipped with back and side swing. 

Cameras for commercial work are usually provided with square 
bellows because they generally permit more rise and fall of the lens 
and there is less danger of cutting off some of the image; also less 
danger from scattered light from reflections from the bellows which 
causes foggy pictures. If the camera will not close up enough to 
accommodate a wide angle lens, an inverted cone can be used. 

The portrait camera is generally built with a comparatively short 
bellows, the same size the entire length. It is of heavier construction 
than the view camera and intended for gallery use on a wheeled stand. 

The panoramic or Cirkut camera is especially adapted for views 
of industrial plants, very large groups and other subjects which require © 
a wide-angle view impossible to show on a single plate made with the 
usual view camera. The exposure is made on film placed in the camera 
ona spool. The camera revolves by clock-work during the process of 
exposure, the film unwinding simultaneously and exposure being made 
through a slot. The exposure can be stopped at any point, making it 
unnecessary to expose the full length of the film, it being possible to 
use any part from a few degrees to the full circle of 360 degrees. Groups 
to be taken by this camera are posed in a circle, or such part of a circle 


Pages 1 to 16, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


COMMERCIAL PHOTOGRAPHY 11 


*Fig. 21. Commercial camera. 


*Fig. 25. Studio camera. 


*Fig. 22. View camera. 


*Fig. 23. Cirkut camera. 


*Fig. 27. Hand camera. 


*Fig. 24. Reflecting camera. *Fig. 28. Banquet camera. 


*T]lustrations courtesy Eastman Kodak Co., Rochester, N. Y. : : ¢ 
Halftones, 150 line, made from retouched photographs. Nos. 21, 24, 26 and 28 are in outline finish and Nos. 22, 23 


25 and 27 in outline-vignette finish. 


12 COMMERCIAL ENGRAVING AND PRINTING 


*Fig. 30. Laboratory outfit. 


*Fig 31. Photomicrographic outfit. 


}Fig. 33. Panoramic view camera. Fig. 34. Motion picture camera—open 
and closed views. 


as may be necessary in order to make figures or heads of equal size 
throughout the group and to avoid their appearance in a curved line. 
For manufacturing plants, the position chosen for the point of view 
should be from a corner, so as to show little or no curvature, such as ~ 
would be obtained if the view were taken broadside or at an elevation. 
The longer the focus of the lens used the greater the distance may be 
from which the photographing is done, and use of this advantage will 
result in better perspective and less distortion. 

A reflecting type of camera is especially adapted to getting pictures 
of moving objects under various light conditions, as well as from 

*Tllustrations courtesy Eastman Kodak Co. 

tlllustration courtesy Gundlach-Manhattan Optical Co., Rochester, N. Y. 


Halftones No. 29, 30 and 31 are outline-vignette finish and Nos. 32 and 33 outline and all were made from retouched 
photographs. No. 34, both views, outline, made from halftone prints in catalog. All plates 150 line. 


COMMERCIAL PHOTOGRAPHY 13 


*Rig. 35. Cirkut view of a manufacturing plant. 


*Fig. 37. Broadside Cirkut view showing pronounced curvature. 


almost any position and with brief exposure—as quick as 1/1500 of a 
second. The operator looks into the focusing hood and sees the 
picture on the ground glass screen, exactly as it will be reproduced in 
the finished print. A slight turn of the focusing button adjusts the 
focus and permits instant action. A tripod is seldom used, and no 
focusing cloth or finder other than the hood is necessary. This camera 
is especially suited to the use of newspaper men, and others who 
require a camera for making good out-of-door pictures under almost 
every condition. 


*Fig. 38. Cirkut view of landscape showing little distortion because of distance. 


*Nos. 35, 36, 37 and 38 are square finish halftones, 150 line, no line. Made from photographs, each about 36x7 inches. 


14 COMMERCIAL ENGRAVING AND PRINTING 


a 


*Fig. 41. Long focus lens. *Fig. 42. Motion picture lens. 


LENSES 


A wide range of lenses is necessary to cover all branches of pho- 
tography. Certain types may be used more or less successfully for 
several classes of work, including landscape, architectural, flashlight, 
interiors, commercial and scientific work—as well as for busts, por- 
traits and groups in the studio—but the best results are obtained by 
using a lens adapted to the special kind of work being done. 

All rapid rectilinear lenses are more or less defective from an 
optical standpoint on account of their curved field, which causes a 
falling off or dished appearance toward the edges of the plate when 
the object is sharply focused in the center. This is overcome in the 
anastigmats, which give good definition to the extreme edge of the 
plate. Anastigmat lenses are also faster than the rectilinear type, as 
they can be used with a larger opening. However, generally speaking, 
two lenses exposed with the same stop number, will have the same — 
speed. 

For head and shoulder work in studios the type of lens known as 
the portrait lens has been used from the earliest days of photography. 
This type of lens has a limited covering power, so that it is generally 
used in a focal range much longer than is required by modern lenses. 
It gives pleasing perspective or proportion of parts because of the long 
focus of the lens, but if used to cover large size plates it is not at all 


*Nos. 39, 40, 41 and 42 are combination plates. The halftones are outline finish, 150 line, made from photographs 
of retouched photographs. The sectional views are line etchings on zinc made from catalog illustrations and are tacked 
on the same blocks with the halftones. 


COMMERCIAL PHOTOGRAPHY 15 


satisfactory to the photographer who wishes to do group work, standing 
figures or home portraiture. The use of such lenses is confined to head 
and shoulder work, and the curved field which is peculiar to the lens 
comes in just right in connection with the old-fashioned vignette or 
fading away of the image at the bottom of the picture. Modern 
anastigmats are replacing the portrait type of lens for the reason that 
they have a flat field and will do head and shoulder work, group work 
and all of the varied work of the studio. 

Telephoto lenses give big images of distant objects in a way 
similar to that of the ordinary telescope. They duplicate the effects 
of tremendously long focus lenses, but do not have the disadvantage 


ee - 
bo Oy 


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Ez) A 
rales [ | [ofa fa 
a 
IEEE EEE 


*Square halftones, with line, 150 line. The upper left view was reproduced in same size as copy from photograph 
made with a fixed focus hand camera on plate 214x314 in.; that at upper right, reduced one-half, with a focusing 4x5 in. 
hand camera fitted with a rectilinear lens; that at lower left reduced three-fourths, with a commercial camera fitted with 
a wide angle anastigmat lens, on an 8x10 in. plate and that at the lower right, reduced three-fourths, with a commercial 
camera fitted with a long focus anastigmat lens, on an 8x10 in. plate. The original chart was about 20x24 in. and all 
exposures were made from same point. 


*Fig. 43. Same subject photographed with different lenses. 


16 COMMERCIAL ENGRAVING AND PRINTING 


of requiring a correspondingly long bellows extension. The usual 
way of arranging telephoto apparatus is to use an attachment, which 
will not in itself take photographs, but when combined with a good 
anastigmat may be set to give magnifications of from three to eight 
times what the regular lens will give. The telephoto lens proper does 
not give variable magnifications as does the telephoto attachment, 
but is a lens of telephoto construction, where the magnification is a 
fixed one. Such lenses are of course faster than the telephoto system 
above mentioned. Telephotography is used for landscape, architec- 
tural and geographical views and by naturalists, and of course, the 
higher the magnification, if the size of the plate remains constant, the 
less the angle embraced in the view. 

With regard to their construction, there are two general classes 
of lenses, symmetrical and unsymmetrical. In a symmetrical lens the 
glasses consist of two elements which are alike in construction. Either 
one of these elements may be used separately in combination with the 
diaphragm, thus making possible two lenses in one, or three lenses in 
one if the front and back single elements are of different foci. This is 
not possible with unsymmetrical lenses, which can only be used when 
properly combined. 

Lenses are also classified in accordance with their focal length, 
speed, and angle of view. For instance, a lens working with aperture 
larger than f/6 is extra rapid; aperture f{/6 to {/8, rapid; aperture of 
less than f/11, slow. A lens with a narrow angle is one with an angle 
up to 35°; medium angle, up to 60°; wide angle, up to 100° or more. 

By focal length is meant the distance between the ground glass 
and the optical center of the lens, when sharply focused on a very 
distant object. The focal length governs the size of the image produced 
by the lens on the ground glass. For instance, a lens of twelve-inch 
focus will produce an image twice the size produced by a lens of six- 
inch focus. 

The speed of a lens is regulated by the amount of light that passes 
through it, and varies with the different apertures of the diaphragm. 
The method commonly used to designate the speed rating of the lens 


FOCAL PLANE, 
GROUND GLASS, 
PLATE AND HOLDER 


FOCUSING’ CLOTH ! 
STANDARD ANGLE OF VIEW 


J SEVERING 
CAPACI | LENS, DIAPHRAGM, 
= ap BELLOWS. 4 SHUTTER-LENS CAP 
| a 
rr? 
eee BOAR 
tl 
qm wu 


eT —— se 
= 


= 


eee 


IN FOR 
RISING AND FALLING FRONT 
EXTENSION 


RACK AND PINION 


=== FOCAL (LENGTH=——=—=» 
POINT OF VIEW 


<—— DEPTH OF FOCUS — > 


Line etching on zinc from pen drawing. 


Fig. 44. Explanatory of camera parts and photographic terms. 


COMMERCIAL PHOTOGRAPHY Ly 


is by the “‘f’’ system, which indicates the largest aperture at which it 
will cover the plate properly. For instance, if a lens is designated to 
work at {/6, the diameter of the lens (effective aperture) is one-sixth 
of its focal length. Speed is one of the important advantages, but a 
lens that possesses great speed does not have the same depth of focus 
that is to be had in a slow working lens, as the larger the aperture the 
less becomes the depth of the focus. 

The quality of the lens which makes it capable of producing an 
image is known as definition. There are different standards of 
sharpness of definition for different kinds of photographic work. 
Usually the portrait photographer desires to give his pictures a certain 
softness and makes use of an indistinctness of depth; the view pho- 
tographer should get sharpness, which will allow for the enlargement 
of negatives. When the photograph is made for reproduction by the 
halftone process, sharpness of line in the negative is usually essential. 

The covering power of a lens has reference to the size of the plate 
it will cover with the diaphragm wide open and still give good defini- 
tion to the corners of the plate. On account of the flatness of field of 
anastigmat lenses and their large image circle they have considerable 
reserve covering power which becomes available by stopping down. 

The angle of view is determined by the focal length of the lens and 
the size of the plate on which it is used, and when not otherwise spect- 
fied means the angle in a horizontal direction. This regulates the 
amount of the subject shown on the ground glass. For illustration, a 
seven-inch-focus lens, used on a 5x7 plate, embraces an angle of view 
of 53°; while the same lens, used on an 8xio plate will take in an 
angle of 85°, provided it will cover the plate. 

A wide-angle lens, used for interiors, groups, etc., gives exaggerated 
perspective to objects near the lens, while a lens having a narrow angle 
is not practical in confined situations, as only the lens angle is included 
in the view. 

Depth of focus is the ability of a lens to render sharply objects at 
different distances from the lens. The longer the focus of a lens the 
less is this depth of focus. The shorter the focus the more the planes 
that can be sharply photographed. Depth is controlled by the dia- 
phragm. The more the diaphragm is closed, the greater becomes the 
depth of focus and vice versa. 

The focal plane is the plane on which the image made by the lens 
is brought to the sharpest focus. This is the position at the back of 
the camera occupied by the focusing screen when placed in position 
for exposure. In roll film cameras the film unrolls across it. 

A camera with a long-focus lens will naturally tend to produce 
more satisfactory results than if the same subject were made with 
a short focus or wide-angle lens. Such equipment produces more 
nearly what we are accustomed to seeing with the eye, which embraces 
a narrow angle of about fifteen degrees. The more nearly the point of 
view is taken as it would appear to the eye, the better proportions and 
more natural looking the view obtained. 


Pages 17 to 32, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


18 COMMERCIAL ENGRAVING AND PRINTING 


OTHER EQUIPMENT 


In addition to the different kinds of cameras and lenses necessary 
for a well-equipped commercial studio, there are such items as camera 
stands, printing machines, enlarging outfits, backgrounds, tripods— 


Outline finish halftone, 150 line, made from retouched Square finish halftone, 150 line, no finishing line. Made 


photograph. from retouched photograph—the group of parts on floor 
was drawn on the photograph. 
Fig. 45. Tilting tripod. Fig. 46. Overhead rigging. 


regular and tilting—printing frames, mounting presses, print dryers, 
print trimmers and numerous small appliances. 

One of the important requisites is an overhead rigging for sus- 
pending the camera for a downward view of objects or groups of parts, 
which have been arranged on a table or the floor, directly underneath. 


PLATES AND FILMS 


Both glass plates and films are used in commercial photography. 
Each has advantages for certain classes of work, although films are 
used exclusively in the Cirkut and moving picture cameras. 

Film is light in weight, not subject to breakage and requires but 
small space for storage; qualities of considerable advantage for work 
away from the gallery, shipping and filing. It is also practically non- 
halation, being so thin there is no chance for the reflection of light. 

Numerous brands of dry plates are on the market, each having 
some special qualification for a certain kind of work. There are varia- 
tions for the purpose of getting latitude in the time of exposure neces- 
sary for different kinds of work; some being slow, some medium, some 
fast. Some plates are made for obtaining extreme contrasts, others 
are especially sensitive to the great variations in color that are encoun- 
tered, and so on. 

The sizes of plates most commonly used are 5x7, 64%x8¥, 8x10, 


COMMERCIAL PHOTOGRAPHY 19 


IOxI2, I1x14 and 14x17, although smaller, intermediate and larger 
sizes are obtainable. For commercial work, the 8x1o plate is the size 
most extensively used. 

The ordinary dry plate does not render correctly all of the color 
values of objects photographed. With the ordinary plate, red, orange, 
yellow and living green will photograph about the same as black, 
while blue and violet will photograph almost the same as white. The 
use of orthochromatic plates upon which the emulsion is sensitized to 
a wider range of colors will improve the rendering of yellows and lighter 
greens, though for any noticeable correction it is usually necessary to 
use a filter as well. They are well adapted to landscape views, pho- 
tographs of furniture and other objects that will be encountered in 
the average run of work. When the emulsion of the plate is further 
sensitized, so as to be capable of rendering practically every color 
value in its true tone, the plate is called a panchromatic. 


PREPARATION OF SUBJECTS FOR PHOTOGRAPHING 


It is not only necessary to have good photographic equipment for 
the production of good photographs, but it is also necessary that the 
subject be properly prepared. Different classes of things require dif- 
ferent treatment, and only experience will enable the photographer 
to get really superior results when handling a difficult subject. While 
comparatively few may be interested in the photographing of furni- 
ture, silverware, etc., the principles, or theory, involved would be the 
same in the preparation of any subject of a similar nature, therefore 
modifications of the following methods may be adapted to an almost 
unlimited variety of subjects. 


FURNITURE 


If ordinary plates are used, furniture should be photographed 
before it is varnished, preferably just after it has been filled, or in some 
woods, in the white. In making up patterns that are to be photo- 
graphed, the lumber should be carefully selected, using only that 


EASTMAN | 


Be FILM CARTRIDGE | te 
ra For IRKUT OUTFITS fy 


HROMATIC 


Outline-vignette halftone, 150 line. Made from slightly retouched photograph. 
Fig. 47. Plates and films. 


20 COMMERCIAL ENGRAVING AND PRINTING 


having clear and well marked grain with rather pronounced figure. 
Boards having crossed grains should not be used, as when these are 
joined together some pieces will show the grain when viewed from 
one direction and others when viewed from the same point will show 
little, if any, grain. 

Sap wood, knots and other imperfections should, of course, be 
avoided. The grain may usually be brought out by painting the 
piece over with gasoline and kerosene, half and half. The gasoline 
brings out the grain, but if used alone would evaporate too quickly. 
The combined gasoline and kerosene will not evaporate, but has to 
be taken out before the piece is finished if a water stain is to be used. 


Outline finish halftones, 159 line. Made from unretouched photograph. These three pieces, all of the same pattern 
were photographed at one time on one plate; that at the left was in the white, that in the middle was filled and that at 
the right had been varnished and rubbed. 


Fig. 48. Comparison of results obtained when photographing oak 
furniture in the white, filled and varnished. 


This is not necessary if an oil stain is used. Cedar oil will produce the 
same grain effect, but will require more time to evaporate. 

The figures or flakes in the wood are sometimes brightened with 
sand paper or a sand eraser, such as stenographers use. Care must 
be taken, however, in the use of the sandpaper or the results will be 
a spotted or a too contrasty effect in the photograph. 

The careful selection of the lumber and the proper filling or 
staining of it, usually gives the desired result without the necessity 
of touching up the piece before photographing it; and the more per- 
fectly this part of the work is done, the less retouching will be required 
on the photograph to bring the grain out properly in the halftone to 
be made from it. 

Owing to the dark finish of weathered oak, it is very difficult to 
show its grain in a photograph. Results may be greatly improved by 


COMMERCIAL PHOTOGRAPHY PAI 


using the sand eraser on the grain flakes, after the pieces have been 
properly prepared and filled in the regular way. 

Where one part of an article takes the filler more rapidly than 
another, thus causing this part to appear different from the rest, color 
should be applied so as to gain uniform results for the entire piece. 

As the grain in mahogany is not so well defined as in oak, it is 
necessary to exercise even greater care in selecting the wood. Ma- 
hogany pieces must be left in natural wood, applying solutions to 
bring out the grain properly. If birch or other wood is used in con- 
nection with mahogany, it should be stained so that it will photograph 
like mahogany. The stain will not make the wood look like mahog- 
any to the eye, but it will bring out the desired result in the photo- 
graph. These woods can also be well rendered with a panchromatic 
plate and red filter, even when the articles are finished. 

No mirrors or glass should be placed in the frames of furniture that 
is to be photographed. The negatives are blocked out so as to leave 
the plain white surface where the mirrors are to appear in the pho- 
graphs and these are later painted in by the engraver’s artist. In 
painting in the mirrors and glass, the artist indicates the clear glass 
by transparent flashing with the air brush over the indicated space. 
Mirrors are indicated by flashing over the white ground where the 
negative has been opaqued for the mirrors. An illustrated description 
of the method of treating the mirrors will be found elsewhere under 
the heading of ‘“The Air Brush.’” When engravings are ordered from 
photographs of furniture requiring the painting in of mirrors, the 
engraver should always be advised as to whether the glass is to show 
with plain or beveled edge. 

In photographing a piece of varnished furniture, results may be 
improved if it is tented in. A piece of common white sheeting may 
be stretched from the background to the camera from either side, and 
also one over the top. When so arranged, all of the light that falls on 
the object is diffused, and the reflections are greatly lessened, if not 
entirely done away with. In connection with this plan, it is neces- 
sary to use a color filter and an orthochromatic or panchromatic plate. 

In photographing upholstered furniture, where fabric is used in 
connection with wood, fabric should be selected, as far as practicable, 
that will harmonize in color with the wood when photographed. Pan- 
chromatic plates and yellow filter can also be used to good advantage. 
Plush is difficult to photograph as the nap lies in different directions, 
producing spots in the photograph that have little or no detail. Plush 
should be handled as little as possible before photographing and the 
nap should be brushed so as to lie in the way to produce the best 
effect in the photograph. 

The tufted and leathery effect in furniture that is upholstered in 
leather—such as couches, chairs, etc.—will be brought out to the best 
advantage by lighting strongly from one end of the subject. Pieces 
upholstered in leather must be handled very carefully prior to pho- 
tographing, as sitting on a piece or laying a heavy object on it may 
put the upholstery out of shape, causing an imperfection in the photo- 
eraph which will make necessary the expense of retouching. 


DD COMMERCIAL ENGRAVING AND PRINTING 


SILVERWARE AND OTHER POLISHED OBJECTS 


The greatest difficulty in photographing any object with a highly 
polished surface is to avoid reflections on the surface. Sometimes 
these surfaces are dulled by daubing with putty or some other oily 
substance, and, after the negative has been made, the article is 
cleaned off with gasoline and a soft brush. This plan is successful in 
many instances, but should not be tried without the full knowledge 
and consent of the owner of the article being photographed. Polished 
silver, for instance, has a most delicate surface, and a slight scratch 
will call for a considerable amount of repolishing. There are prepara- 
tions on the market for coating silver and other polished ware to avoid 
reflections in photographing, some of which are guaranteed not to 
tarnish. The tent or curtain idea, previously described as applied to 


*Fig. 49. Reflections on polished surfaces. 


varnished furniture, may be successfully carried out in the photo- 
graphing of many objects that have a highly polished surface. 

Prevailing conditions, as well as the nature of the object being 
photographed, must largely govern the choice of the plan to be fol- 
lowed; and, regardless of the plan followed, more or less retouching 
by the engraver’s artist will usually be required on the photographs 
to put them in the best shape for reproduction in halftones. 


GLASSWARE 


The attractiveness of a piece of cut glass lies in the manner in which 
the light is reflected from the numerous facets or cuttings. If photo- 
graphed in the ordinary way the reflections in such a subject are so 
confusing as to mar the appearance greatly, unless the glass is specially 
prepared for photographing, or the photograph is extensively re- 

*Square halftone, no finishing line, 150 line, Made from two photographs mounted together as shown. Line tooled 
between. Separate photographs were made of the group which had been placed on a dark cloth on top of a table. The 
view at left was made without any attempt to avoid reflections, while when making the one on the right the group was 


surrounded with a white muslin curtain extending to the camera, and excluding all light except that reaching the subject 
through the curtain. The negatives were made from an overhead rigging. 


COMMERCIAL PHOTOGRAPHY 23 


touched by the engraver’s artist. The former plan is more satisfactory, 
because of the greater naturalness of the effect attained. 

A common way of preparing glassware for photographing is to go 
over it with the air brush or an atomizer, using a pale blue, aniline 
dye, in water and gum. Another method is to coat the surface with 
aluminum bronze which has been cut in banana oil and alcohol. Should 
there be a grain to the bronze, this can be overcome by dusting the 
surface with powdered graphite. 

While by the foregoing method photographing without reflections 
is an easy matter, the results do not show the transparency nor the 
full sparkle of the natural reflections. To get better results the object 
being photographed may be placed in a tunnel made of muslin or 
tissue, so that all light reaching it will be diffused, and color filters 
and orthochromatic or panchromatic plates used. The transparency 
of the article will be emphasized by having the tunnel run towards a 
window, from which it is separated by a piece of ground glass, muslin 
or tissue, which will also serve as a background. By increasing the 
size of the tunnel or tent, and lining it with smooth black or red ma- 
terial the facets on the cut glass will be brought out to better advan- 
tage. Ora black background, a little larger than the space occupied 
by the objects being photographed, placed a little in advance of a 
window, thus giving some side illumination by transmitted light will 
improve the rendering of their transparent nature. 

The transparency of glassware may also be increased by placing a 
piece of black paper on the inside of the piece and nearest the back- 
ground, carefully trimming it to fit and so that it will not extend above 
the top. Black velvet is used for background and to arrange pieces on. 

The engraved work on glass will be shown to better advantage if 
these parts are rubbed or dusted with red opaque, graphite or rouge, 
wiping and polishing the plain surface before photographing. 


CASKETS 


Caskets are usually very difficult subjects to photograph. The 
exteriors are mostly of dark material, while the interiors are lined 
with light materials, which gives the two extremes of color immediately 
adjoining. This and the plush and the sheen effect of the cloth, and 
the bright metal parts with small detail, make a combination very 
difficult to handle. Results depend very much upon the experience 
and ingenuity of the operator in lighting and in handling the details. 
The dulling of the polished metal, the use of the tent, top lighting, and 
the covering of the light interior with dark cloth while giving part of 
the exposure for the dark exterior; removing the covering and exposing 
the entire subject during the remainder of the exposure—as well as 
other special methods—are necessary for the best work. 


STOVES 


Extreme contrast in light and shade is also met with in photo- 
graphing stoves. The nickel trimmings must be kept from photo- 
graphing too white or chalky, as well as from reflecting surrounding 
objects; and, at the same time, the black iron—oftentimes ornamental 


24. COMMERCIAL ENGRAVING AND PRINTING 


—must show all of the detail and not appear flat. The nickel parts 
photograph best if puttied, and the putty may be applied to the large 
surfaces with a printer’s ink roller of a small size, running the roller 
over the putty and then over the metal. The putty can be applied 
to the irregular corners and surfaces, and the overlapping edges can 
be smoothed, where the roller has been used, by a tuft of cotton. The 
black iron should be painted with a dull, flat grayish-black. This 
paint can be made of lamp black cut in alcohol and thinned with water, 
and if grayish tint is wanted, whiting, which is soluble in water, is 
added. The tent system of lighting can sometimes be used to good 
advantage in diffusing the light. 


MACHINERY 


Mechanical subjects of metallic construction should be painted 
with a temporary coat of steel gray, the paint being mixed of materials 
that will dry quickly and absolutely flat and without gloss. Subjects 


_ Square halftones, no finishing line, 150 line. Made from unretouched photographs. The subject in No. 50 was 
painted a steel gray before photographing, while that in No. 51 was painted a gloss black with parts in red. 


Fig. 50. Fig. 51. 
Proper and improper method of preparing machinery to be photographed. 


that are painted in black, red, yellow, blue, etc., do not have the same 
photographic values, hence there is a great loss of detail and lack of 
uniformity in the color of the parts, unless the subject is specially 
prepared. The preliminary cost of coating a machine, by the use of 
inexpensive labor, will be a great deal less than that of retouching a 
poor photograph by an expensive artist. All brightly polished parts 
should be rubbed over with soft putty, or other suitable preparation. 
Lettering that has been cast on parts will appear white in the photo- 
graph if the surface in relief is carefully chalked. 

A mixture of lamp-black and whiting with gasoline to the con- 
sistency of paint, and in proportions to produce a medium tone of gray, 
makes an excellent paint for this purpose. This preparation may be 
applied to nickel parts as well as to the rough iron surfaces and will 
prevent reflection as well as insure good separation of detail. It may 


COMMERCIAL PHOTOGRAPHY D5 


be easily dusted off after the negative has been made, thus causing 
very little inconvenience or extra work in putting machinery or parts 
in original condition. 

When it is desired to show an illustration of some part of a ma- 
chine more prominently than others, the usual procedure is to pho- 
tograph that part separately, or to make an enlargement of it from the 
photograph made of the complete machine. Or if it is impossible to 
photograph the part, it can be drawn in phantom effect, taking the 
same point of view as was used in photographing the complete machine. 

Defects in the finished surface of a casting that are only slightly 
noticeable to the eye, as well as spots from oil and other discolorations, 
appear very much stronger in the photograph. These can be almost, 
if not entirely, eliminated by the temporary painting. However, the 
best of photographs of mechanical subjects usually require some work 
on the part of the engraver’s artist, for the correction of light and 
shade effects and the more careful working out of small details; but 
this work will be nominal compared with that required for retouching 
a subject that has not been properly prepared for photographing. 

The better class of machinery illustrations are made from photo- 
graphs that have been almost—if not entirely—painted over by the 
engraver’s artist, regardless of the clearness of detail in the original 
photograph. The subject is usually enlarged from the original negative, 
thus obtaining sufficient size in all details to permit ample surface for 
the artist in retouching. 

MEDALS AND CASTS 


It is a violation of the Federal Law to photograph any kind of 
United States money. 

In photographing medals, seals, etc., when the color is such that 
they cannot be successfully photographed direct, or cannot be tinted 
by air brush, they may be successfully photographed by first making 
a plaster mould and from this producing a plaster copy to photograph, 
made of a gray composition which may be obtained by mixing ink 
with the plaster. 

FLOOR AND BACKGROUNDS 


In photographing subjects having a considerable amount of detail, 
and in which there are numerous openings through which the floor 
and background will be noticeable, much of the artist’s time will be 
saved, where the background is to be retouched or eliminated, if a 
clean smooth cloth or sheet of paper, of a contrasting color, is used 
as a background and floor covering. The indication of a floor under 
a machine is usually painted in by the artist, and it can be put in at 
much less expense if the surface is white when the photograph comes 
to him. This white ground can be obtained by blocking out the 
negative, but it is well to use the floor covering, on account of the 
definition of detail that results from the light reflected to the machine 
parts and to facilitate the blocking out. 

While many of the backgrounds in portrait work, especially home 
portraiture, are photographed with the subject, many of the striking 
effects are produced through special work on the negative before the 


Pages 17 to 32, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


26 COMMERCIAL ENGRAVING AND PRINTING - 


prints are made. The negatives are made using either plain white or 
plain dark background, and the film of the negative is then lightened 
or darkened to produce the effect desired. 


POSING 


The most natural looking photograph is one which appears to the 
eye the same as though viewed from a point at a distance equivalent 
to about twice the greatest length of the object photographed. To 
obtain good perspective and proportion the camera should be placed 
as far away from the object—and at about the same height—as one 
would ordinarily view it with the eye. A three-quarter view, or at 
least one with slight perspective, is nearly always preferable to a 
straight front view. 

Some very effective photographs are obtained by placing the 
camera practically on the floor level, with an upward view toward 
the subject. This method is much used in photographing automo- 
biles, live stock, etc., and gives the object a somewhat enlarged ap- 
pearance. The placing of the camera and the manipulation of the 
rising and falling front and the horizontal and vertical swings are 
such as to avoid distortion. It is practically impossible to overcome 
distortion through retouching. Vertical and horizontal lines should 
be parallel, and the camera should be placed far enough from the 
object to keep the parts in the foreground from not appearing out of 
proportion. If the object is slightly tipped to obtain a partial top 
view, the plate in the camera should be swung so that it will be parallel 
with the vertical lines of the tipped object. 

The size of many objects is not evident when they are photo- 
graphed alone, and where the photograph is to be submitted to those 
not familiar with the actual size of the subject, it is well to have a 
workman, or some object of a commonly recognized size, appear in 
the photograph with the main subject, thus bringing out the compara- 
tive size. The size of smaller objects may be indicated by photo- 
graphing a scale, foot rule or yardstick in connection with the main 
subject or subjects, provided the figures when photographed will be 
large enough to be read. The measure may be placed either hori- 
zontally or vertically, depending upon whether height or width is to 
be indicated. Identifying numbers, printed on clean cards, may be 
placed against or attached to objects being photographed, to indicate 
factory numbers, sizes, etc. 

Where many pieces appear in a group and each is to be numbered, 
or to be designated by name, it is better to add these numbers or 
names to the photograph, or to the halftone plate that is to be made, 
by double-printing—which is explained elsewhere—than to attempt 
to make them a part of the photograph. 

In photographing a series of any kind of articles it is well to keep 
the sizes of the articles in the photographs in the same proportion. By 
fixing a standard distance between the camera and the object, as well 
as a definite position in which to place the objects, each may be pho- 
tographed in the same perspective and in relative size. The sale of 
many an article has been seriously affected because of its incorrect 


COMMERCIAL PHOTOGRAPHY Diy. 


proportionate size in a series of illustrations, and by which a wrong 
impression was created in the mind of the observer, who did not take 
the trouble to read the detailed specifications concerning it. 

In lines that are to be added to, from season to season, a record 
should be kept and the same distance and angle of view used con- 
tinuously. A practical and convenient way of doing this, in many 
lines, is to place a long and wide sheet of paper on the floor, extending 
from the camera to the piece being photographed, marking the posi- 
tion of the camera on one end, and position and angle of the piece on 
the other, retaining the marked sheet from season to season for refer- 
ence. Or the distance may be measured with a tapeline, and recorded 


Outline halftone with square panel at bottom, 150 line, no finishing lme. Made from unretouched photographs 
mounted together of subjects especially filled fer photographing. Line tooled between. 


Fig. 52. A customary view. Fig. 53. A worms-eye or upward view. 


for subsequent use when photographs are to be made. This will not 
only insure uniformity in the photographs but also aids in readily and 
accurately determining the proper size for each illustration to be made 
from the photographs. 

A little time spent in the proper placing and adjusting of the 
movable parts of a machine or any other object, before making the 
negative, may save considerable time of an expensive artist for altera- 
tions and redrawing on the photograph. 

As every manufacturer knows better than any one else the special 
selling features of his own goods, it is advisable if possible that he 
set the goods up or pose them for the photographer. When he cannot 
do this in person, it is desirable that he give very explicit instructions 
to the photographer on this important point. If the manufacturer 

‘poses the goods, it will frequently prevent misunderstandings, loss of 


28 COMMERCIAL ENGRAVING AND PRINTING 


time, and disappointment in results. The manufacturer should always 
see a print of the photograph before the engraver does any work either 
in the way of retouching or actual plate making. 

When making photographs of groups made up of a number of 
pieces—as the separate parts of a machine—it is easier to lay them 
out on the floor or on a table than to hang them on a background in 
a vertical position in front of the camera. The camera may be sus- 
pended from the overhead rigging and pointed downward while making 
the exposure. In the absence of the overhead equipment, a tilting 
tripod may be used for the smaller groups. By this plan, if the parts 
have been properly painted and prepared, and placed on a clean back- 
ground of a contrasting color, little if any retouching will be required 
to bring out the details definitely. Care should be taken in the ar- 
ranging of the articles in the group that the proportion of length and 
width over all will reduce to the proper proportion in the plate to be 
made. For example, if a halftone plate 6x8” is to be made from the 
group, the pieces must be so placed that the ground they cover will 
reduce to this size. 

Where the pieces are hung in a vertical position on a background, 
and the photograph is made with the camera in the ordinary position, 
it is necessary to paint out the nails and hooks from which the pieces 
have been suspended, if they are not to appear in the illustration. This 
is a small matter, of course, where there are only a few pieces, but it is 
a considerable item in a large group. It is also more difficult to arrange 
pieces to best advantage in a group when they are photographed in a 
vertical position, as each change means a change of a hook or nail; 
while, if the pieces are placed on the floor or a table, a change merely 
means the moving of a piece from one location to another. 

In the photographing of groups of jewelry and other subjects, 
where an artistic, as well as practical effect is being sought, and a 
background in a figured or pattern design is desired, various materials 
may be utilized, such as loosely woven cloth, lace, figured paper and 


ne Square halftone, 150 line. Made from part of a print of 120 line halftone magazine advertisement, 914 in. wide. 
Solid black border painted in on plate before etching. White line tooled in. 


Fig. 54. Group photographed on a decorative background. 


COMMERCIAL PHOTOGRAPHY 29 


Square halftone, no finishing line, 150 line. The original photographs (5x7’s), without trimming or retouching, were 
mounted on a plain gray card, which shows as the background. 


Fig. 55. Photographs of a model for use in a series of advertisements. 


specially made backgrounds almost without number. The back- 
erounds must be prepared first and mounted in such a way as to re- 
move all wrinkles and other lines that might be detrimental to the view. 
A plain ground glass is often used for a background for such subjects. 

Proper care should be taken in the arrangement of the pieces in the 
group, and it should be checked over to see that no piece is missing, but 
if it is found necessary to add to the group or change the location of a 
piece, this can sometimes be done at less expense and trouble than by 
re-photographing the entire group. The piece to be added is photo- 
eraphed in its relative size, trimming away the background to the 
outline of the piece and mounting this down on the photograph in its 
proper position. A thin edge can be obtained by beveling underneath, 
which will permit close mounting, and with a slight amount of re- 
touching, patches can be made that will scarcely be noticeable. 

Many illustrations are made from specially posed photographs. 
The view complete may be obtained by photography, or a partial 
view photographed and the rest retouched or painted in on the pho- 
tograph. In making such photographs it should be kept in mind that 
the more attention given to the details of posing, lighting, and the 
actual negative making, the better the results will be. 


MODELS 


Most commercial photographers have a list of persons whose 
services may be obtained for posing to add life to photographs to be 
used for advertising illustrations. An extra charge is always made for 
model’s service. The amount of charge for this service should be 
agreed upon before the negatives are made, and a written agreement 
be entered into with the proper party as to the right to use the photo- 
graph. To obtain acceptable photographs at least cost, it is also neces- 
sary to carefully plan all details in advance of the actual negative 
making. 

TOP VIEWS 
Many times when a top view is desired the nature of the object is 


such that it is impracticable to make a photograph in the gallery with 
regular equipment. Various devices may be employed, such as building 


50 COMMERCIAL ENGRAVING AND PRINTING 


a scaffold around and above the object to be photographed, and sus- 
pending the camera from the scaffolding. When the subject is readily 
moved, as an automobile chassis, it is possible to run it under a bridge 
‘and take the photograph looking down from the bridge. The camera 
should be centered directly over the object, and at such distance as 
will prevent any distortion. In many factories, where subjects of this 
nature are photographed frequently, platforms are built at proper 
height for regular use. The plan of turning an object on its side to 
make a top view is not so satisfactory as placing the object in its 
natural position and photographing down from a scaffold above. 
When a considerable number of subjects are to be shown in one 
photograph but it is impossible to pose all of them at the same time, 
it is sometimes practicable—in the case of still subjects—to make a 
mask corresponding to different sections of the plate on which different 


Square halftone, no finishing line, 150 line. The photographic negative was made from a bridge, under which the 
truck stood on a track. Negative was blocked out, bromide enlargement made and this retouched. 


Fig. 56. A top view. 


exposures are to be made, posing the subject and exposing only that 
part of the plate assigned to that particular subject. The mask is 
then changed to another section on the plate, photographing the sub- 
ject for that section, and so continuing until all the subjects have 
been photographed and all sections of the plate covered. All of the 
exposures being on one plate, and this being the original negative, 
better results will be obtained in the photograph than if a separate 
negative is made of each subject and a print from each is placed in 
group to be photographed again. Some retouching and blocking out 
of the negative will be required, on account of the edges of the mask, 
but a little experience enables the operator to overcome any bad 
looking lines that might separate the views. 


LIGHTING 


A very important step in the making of a good photograph is the 
proper lighting of the subject. This is often very difficult of accom- 
plishment unless the work is done in a gallery. Large objects that 
can not conveniently be moved must, of course, be photographed 
under as favorable conditions as circumstances will permit. Objects 
small enough to be taken to a gallery should be photographed there, 
where arrangements are such as to obtain the best lighting effects. 


COMMERCIAL PHOTOGRAPHY Ba 


Mechanical subjects should not be photographed out of doors, nor 
directly under a skylight, as too strong a toplight will cause deep 
shadows. The best results will usually be obtained with a good light 
from the north, falling at a downward angle of 45° to 70°. The light 
may be controlled to some extent by the placing of a temporary back- 
ground of paper or other material. 


INTERIOR VIEWS 


In photographing interiors the camera should not be pointed 
toward windows if possible to avoid it, but if this can not be avoided, 
then the windows should be covered with curtains or thick wrapping 
paper, fastened well around the edges, so that no bright margins of 
light are visible. After the exposure has been nearly completed, the 
window covers should be removed and an additional short exposure 
given. This will give the window a natural appearance and will often 
show objects in a natural way outside. 

When conditions will permit, it will generally add to the appearance 
of an interior to show in the photograph a view through an open door 
into another room or hallway. This adds to the interest of the view 
by showing the relation of the room being photographed to the other 
parts of the house. 

Conditions vary so much with regard to interiors that it is difficult, 
if not impossible, to lay down more than the most general rules as to 
the way in which the work should be handled. The operator must 
use his best judgment in regard to the focusing, the point of view, etc. 


FLASHLIGHTS 


Flashlights are necessary in making a great many interior views, 
especially if there are persons or life in the view. There is usually a 
tendency toward very strong contrasts and lack of detail in the high 
lights and shadows of a photograph from a negative made by flash- 
light. In reproducing photographs by the halftone process there is a 
tendency toward a still greater lack of detail in these parts; hence a 
poor photograph made by a flashlight is a very poor subject from 
which to make a halftone. The flashlight is used in making home, 
office and shop interiors, banquets and other public gatherings, also 
in photographing subjects that can not be otherwise lighted. 


EXTERIOR VIEWS 


East fronts should be photographed during the morning, west 
fronts during the afternoon, south fronts any time during the day, 
depending on the point of view wanted, north fronts early in the 
morning or late in the afternoon, or when the sky is overcast with 
thin, light clouds. The camera should never be pointed toward the sun. 


WINDOW DISPLAYS 


Sometimes considerable ingenuity has to be exercised in taking 
photographs of a store window. The glass in the window is very 
likely to cause reflections of objects across the street to show much 


We COMMERCIAL ENGRAVING AND PRINTING 


better in the photograph than the goods in the window. By fully 
illuminating the display the photograph may be very successfully 
made after dark, the reflections of the buildings across the street being 
thus avoided. A long exposure is required, but people passing between 


Outline halftone, 150 line. Made from two unretouched photographs mounted together. White line tooled between. 


Fig. 57. The same show window photographed by daylight (at left) 
and by artificial light (at right). 


the camera and the window will not affect the exposure, so long as they 
keep moving. A lighted match in front of the lens, or the headlight 
of an automobile or street car, would impair results. The camera 
should be so placed as to avoid taking in reflections from electric signs 
across the street. It is sometimes necessary to request that such signs 
be turned off while the exposure is being made. 


PORTRAITS 


A great many of the portrait photographs from which halftones 
are made were not originally intended for that purpose, but as other 
copy is not obtainable, the engraver must do the best he can with the 
material at hand. 

However, when a special sitting is made for a photograph from 
which a halftone is to be made, the photographer contributes largely 
toward a successful outcome when he works along the following lines: 

If the halftone is to be used for newspaper work, or the plate 
printed on a moderate grade of paper in job work, a light or medium 
light background should be used. The darker backgrounds may be 
used where the halftone is to be well printed on a good grade of paper. 
The light and medium backgrounds will also work well in the higher 
grades of printing. Dense black backgrounds are difficult to print. 
The engraver’s proof may show an exact reproduction of the photo- 
graph, and be very artistic, but the plate will require very careful 
handling on the part of the printer—with frequent wash-ups through- 
out the run—in order that sharp, clear impressions may be continu- 
ously obtained. 


Pages 17 to 32, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


COMMERCIAL PHOTOGRAPHY 33 


Focus for sharp detail and clear outline of figure against the back- 
ground. The negative should be retouched, if necessary, before the 
print is made. 

Glossy black and white prints, sharp in detail, printed without 
too much contrast, will produce the best halftones. 

Prints on linen-finish paper are hard to reproduce, as the pebbled 
surface causes small reflections which make it impossible to make a 
sharp halftone from such a print. Also the grain will frequently com- 


Combination halftone and line etching on copper, 150 line. Pen drawing made for border from which line negative 
was made. Subject was posed for special photographs from which the halftone negatives were made, which were stripped 
into their positions. The lettering was drawn in white on the photographs and the screen tooled out of it in the plate. 


Fig. 58. Backgrounds for portraits: LSA, light; LTA, medium; 
LUA, dark; LVA, black. 


34. COMMERCIAL ENGRAVING AND PRINTING 


bine with the screen of the halftone in such a way as to make a pattern 
or moire effect. Very unsatisfactory results follow the making of a 
halftone from such copy larger than the copy. 

Sepias and strong reddish-brown prints are very poor for reproduc- 
tion, as they havea tendency to come much darker than the photographs. 

Rough-surfaced papers make very artistic photographic prints, but 
they can not be reproduced to good effect, because the uneven surface 
chows in the halftone as a defect and produces a muddy and unsatis- 
factory result. 

It is just as necessary that the engraver be furnished with a good 
print from which to make a halftone that will please the customer, as it 
is that the photographer furnish him with a good photograph to please 
him, if no halftone was to be made. 

It is best that the prints be not trimmed or ovalled out, and it is 
preferable that they be delivered flat, or on a plain, closely-trimmed 
mount, rather than in a folder, or in an expensive and elaborate mount. 
The customer may want a square-finish halftone, which it might be 
impossible to make from an ovalled print, while it is an easy matter 
for the engraver to make an oval from any square print on which suffi- 
cient margin has been left. 


PHOTOGRAPHIC PRINT PAPERS 


In Fig. 59, the same negative was used in making the prints on 
different kinds of paper and these prints grouped. The reproduction is 
about one-half size of the original photographic prints. A glossy, soft 
black and white print was used for section LO; a semi-gloss, semi- 
matte, black and white for LP; a dull-matte black and white for LQ; 
glossy solio for LR; a regular semi-gloss, semi-matte Velox for LS; a 
semi-gloss, strong contrast, semi-matte Velox for LT; a dull buff, 
semi-matte for LU: a dull buff, rough matte for LV; a green carbon, 
semi-gloss, semi-matte for LW; a semi-gloss, semi-matte sepia for 
LX: a dull rough sepia for LY, and a dull sepia linen finish tor LZ; 


DEVELOPING PLATES 


Practical experience is the only safe guide in the developing of 
negatives and the handling of imperfect plates. Broadly speaking 
they may be classified as normal, underexposed, overexposed, under- 
developed and overdeveloped. The normal negative has had approxi- 
_ mately the correct exposure and development, and a print from it will 
show detail in the deepest shadows, as well as in the high lights. 
Negatives that have been slightly underexposed may be built up, but 
practically nothing can be done with one that is very much under- 
exposed. An underdeveloped negative may be brought to good 
printing density by the process known as intensification, while an 
overdeveloped negative may be brought to proper printing condition 
through the process known as reduction. As an imperfect negative 
can never be remedied so as to produce prints equal to those from one 
made properly, a new negative should be made to replace the imper- 
fect one where practicable. Usually no retouching is done on nega- 
tives of commercial subjects. 


COMMERCIAL PHOTOGRAPHY 30 


Square halftone, 150 line screen, no line. Made as one plate from group, white line tooled between sections. Lettering 
drawn in white on photographs and screen not tooled out in plate. 


Fig. 59. Showing relative results in halftones made from different 
photographic print papers. 


36 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, no finishing line, 150 line. In making the halftone negatives, which were stripped into positions as 
shown, the lights were directed against a sheet of white paper placed a short distance back of the negatives illustrated in 
order to show the transparency of the plates. 


Fig. 60. Negative before (left) and after (right) opaquing. 


Square halftone, no finishing line, 150 line. Made from unretouched prints mounted together. This view also illus- 


eas ae small objects may be easily held in special positions by the use of putty or modeling clay while being photo- 
graphed. 
Fig. 61. Prints from negative before (left) and after (right) opaquing. 


BLOCKING OUT, OR OPAQUING AND ETCHING NEGATIVES 


In making photographs of furniture, machinery, etc., a much 
better appearing print is obtained, if the background is blocked out 
in the negative, making it possible to get good, clear prints of the 
object alone or that part of it to be used, without confusion of a mis- 
cellaneous background. Prints from blocked out negatives are always 
preferable, but not necessary, for the making of halftones. A con- 
siderable saving in the artist’s time for retouching is effected by 
having negatives blocked out before the prints are made. 

In blocking out a negative, the photographer covers the film side 
of the negative, after developing and drying, with an opaque paper or 
paint, coming up to the edges of the article that has been photo- 
graphed. The opaqued surface of the negative coming next to the 
sensitized paper when the print is being made, keeps light from getting 
to the paper forming the surrounding background and permits the 
light to pass through the negative only in the parts of the object 
photographed. 

In opaquing a portrait negative the edges of the parts that gen- 
erally appear too abrupt when blocked out in the ordinary way may 


COMMERCIAL PHOTOGRAPHY aK 


be outlined with a soft retouching pencil, thus obtaining a blended 
edge instead of the abrupt line. 

The additional expense for blocking out a negative depends upon 
the nature of the subject. To block out the background around a 
simple subject would involve little, if any, additional expense; while a 
complicated group would call for an extra charge. 

Negatives of interior or exterior views are seldom blocked out, 
unless it is to block out the edges so as to leave a broad, white margin 
around the print to center attention on the main part of the view. 

If it is desired to obtain a black background in a print the back- 
ground in the negative may be made transparent by removing the 
film with an etching knife. 


PRINTS 


The paper on which prints are made is finished in a wide range of 
surfaces, weights and qualities. A paper possessing a smooth, lustre- 
less, dead surface is known as matte; one with a dull surface, showing 
a light sheen, as semi-matte; one with a smooth, glossy surface as 
glossy. 

Prints are mostly made in blacks, browns and grays, and there 
are a few in blues, greens and reds. Prints that are to be reproduced 
by any of the photo-mechanical processes are to be preferred in black. 

Prints of a commercial subject will show the detail best if on a 
glossy paper. Silver or solio paper, while not used as extensively as 
formerly, produces excellent prints for retouching and for reproduc- 
tion. It is so little used now, however, that it is inconvenient for 
photographers to supply it, as this paper will not keep; and prints 
are often unsatisfactory on account of lack of practice in handling. 
If solio paper is used the prints should be of a brownish gray or purple 
tone. Strong reddish toned prints do not make good reproductions, 
as red intensifies in reproduction, causing loss of detail. These prints 
are sometimes known as sun prints, since printing can be best done 
by sunlight, the image being developed on the paper by the action 


AXL AXN 


Outline finish halftones, 150 line. The photographic negative was made from a retouched photograph. A norma] 
print from it was used in making AXK, an undertimed print for AXL, a too contrasty print for AXM and an overtimed 
print for AXN. 


Fig. 62. Varying photographic prints from the same negative. 


38 COMMERCIAL ENGRAVING AND PRINTING 


of light, the print being toned, washed and fixed after it has been 
printed to the required tone. 

The developing out papers, which are now almost universally used, 
are furnished in a number of grades for different degrees of contrast, 
and afford the possibility of much greater speed in making prints 
than the printing out papers. In making prints on developing paper 
it is exposed to artificial light under the negative, and the print on the 
paper is afterward developed in a manner similar to that in which 
the negative was developed after being exposed in the camera. There 
is no visible image on the paper until after the developing begins. 

Most photographers now have machines for printing. These are 
of box-like construction with glass top, the lamps being arranged 
inside. The negative is placed on the glass top, the paper on the 
negative, and over this a hinged pressure pad. As the hinged pad is 
closed and opened the lamps are automatically turned on and off. 

All prints that are to be reproduced should be made on gloss paper. 
The matte or dull finish paper gives better wear in albums and port- 
folios used by salesmen, but matte prints do not reproduce as well as 
glossy prints because of lack of depth in detail. The prints, by what- 
ever process made, should be sharp in detail and fixed in a neutral 
tone. Under or overprinting should be avoided, and the prints should 
be thoroughly washed to avoid the possibility of any chemical action 
later, which would prevent the artist’s retouching paints from adhering 
and remaining permanently. 

A highly glossed surface, which increases sharpness of detail, is 
given to the print by drying it on a ferrotype plate, a thin, highly-pol- 
ished enameled sheet of metal, on which the print is placed face down 
and brought into contact by the use of a squeegee roller, the plate 
-being first treated with a solution to prevent the adhering of the print. 


Outline-vignette halftone, 150 line. Made from re- Outline-vignette halftone, 150 line. Made from 
touched photograph. slightly retouched photograph. 


Fig. 63. Printing machine. Fig. 64. Print drying machine. 


ee a ee ee 


COMMERCIAL PHOTOGRAPHY 39 


Square halftone, no finishing line, 150 line. Made from a group print which was made from the same negatives used 
for the photographic prints in Fig. 55. Photograph not retouched. 


Fig. 65. Prints from different negatives on one sheet of print paper. 


If unmounted prints curl when dry they may be flattened by 
drawing them under a round-backed ruler or over the edge of a table. 
Prints should never be rolled, as handling, either for examination or 
in reproduction, will sooner or later cause cracks to appear, and these 
will show in the reproduction. 

Where a large number of small prints are to be made, time will be 
saved by first making a sufficient number of prints in duplicate, which 
when mounted together will cover a larger size plate. By making a 
new negative of the large size several of the prints may be made at 
one operation instead of the single print. After the large prints have 
been dried they may be cut into the small sizes. 

Where prints are reproduced in large quantities, the drying of them 
quickly and satisfactorily was formerly a difficult problem, but such 
work is now done by what is known as an automatic drying machine. 
The prints—of various sizes and kinds — are placed on a continuous 
web, which passes over and around large, heated, drying cylinders, 
the dried prints being deposited in a basket. 

Prints are usually delivered unmounted unless otherwise ordered, 
but they may be mounted on paper or muslin backs, with or with- 
out hinge for binding in portfolios, or mounted on cards. 


GROUP PRINTS 


To obtain in one print, without indication of patching, several 
different views, each of which has been made on a separate negative, 
a rough sketch or diagram is first made locating the position in which 
each of the different views is to appear. The negatives are then printed 
on the large sensitized sheet one at a time, the sheet being covered 
with a mask so that only the part is exposed under the negative in 


Pages 33 to 48, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


40 COMMERCIAL ENGRAVING AND PRINTING 


use. A mask, with change of position and negative, is made for each 
view, and, after all of the views have been printed, the sheet is de- 
veloped and fixed in the usual way. Negatives are sometimes trimmed 
down and mounted together, opaquing or masking out parts that are 
not to print. To obtain a vignetted effect for each view, the usual 
method of vignetting is followed when printing from each negative. 


PATCHING PHOTOGRAFHS 


Many views are made by patching photographs together. All of 
the negatives are made with the camera in the same position, simply 
turning it sufficiently after each exposure to catch as much of the 


Square halftone, no finishing line, 150 line. Made from two photographs mounted together. 


Fig. 66. Patched photograph. 


adjoining field as the plate will cover. A camera with a sliding bed 
block, which permits the camera to slide back so the lens is directly 
over the tripod screw is necessary, as it is the lens that sees the picture 
and the lens must not move, except to revolve on its own axis. The 
negatives should be timed exactly alike and developed together, so 
that they will have the same printing quality. Then, after making 
several negatives showing the continuous view, the prints from each 
negative are trimmed and mounted together, and the joints between 
the photographs matched in the best possible manner. 

In the case of large manufacturing plants, comprising one or many 
buildings, it is sometimes impossible to make a satisfactory photo- 
graph, and the most satisfactory way of illustration is through a wash- 
drawing made by a competent artist, as neither the Cirkut photograph 
nor the result obtained by patching views together will produce as 
satisfactory a picture. 

COLOR FILTERS 


A subject in one color placed against a background of another 
color, or a subject that contains two or more colors would, if photo- 
graphed in the ordinary way, lose greatly in color value in certain of 
the tones. The ordinary plate is sensitive to blue, violet and ultra 
violet rays; the orthochromatic to the same colors, and to some degree 
to the greens and yellows; while the panchromatic is sensitive to all 
the colors of the spectrum. Best results are therefore obtained by 


nee, ae ee) 


COMMERCIAL PHOTOGRAPHY Al 


using color filters. The best color filters are made of stained gelatine 
cemented between optically hand-worked glass. These are expensive, 
but filters may be obtained cemented between the best parallel plate 
glass, or the stained gelatine films themselves may be used, though 
they are likely to be quickly spoiled. Filters are placed in front of the 
lens while making the exposure. 

All plates are supersensitive to blue, violet and ultra violet, so that 
it is necessary with orthochromatic plates to use a yellow filter, which 
will cut out all ultra-violet, and enough of the violet and blue light, 
to bring these tones to the proper relationship with the other colors 
to which these plates are sensitive. With panchromatic plates various 
color screens should be used, the color of the screen depending upon 
the colors in the subject to be photographed. While these filters cut 
out a surplus of the blue light, they in no way increase the sensitive- 
ness of the plates to other colors. They necessarily increase the time 
of exposure because they cut out a part of the light to which the plate 
is the most sensitive. Subjects in which there is a large amount of blue 
will, if photographed with a red or yellow filter, be left so as to have 
more nearly the same shade or tone value as the eye sees. Red, orange, 
yellow and green cannot be photographed without a filter, and will 
only be rendered with the same relative degree of brightness that the 
eye sees when a panchromatic plate and a fully correcting yellow 
filter are used. 7 

For general work the yellow filter with an orthochromatic or pan- 
chromatic plate is about all that is needed. However, other contrast 
filters are made for use in commercial work, in conjunction with a 


Figures 67 and 68 are square finish halftones, no finishing line, 150 line screen. Both were made from the print in 
color of this subject as it appears elsewhere. 


Fig. 67. A color subject reproduced Fig. 68. Same subject as in Fig. 67 
with an ordinary plate. reproduced with filter and pan- 
chromatic plate. 


42 COMMERCIAL ENGRAVING AND PRINTING 


panchromatic plate, such as strong yellow for photographing oak, 
walnut, and similar woods, orange-red for mahogany and rosewood 
and articles of a similar color, green for purple typewriting, deep red 
for dark mahogany, blue prints, etc. 


HAND COLORED PHOTOGRAPHS 


Photographic prints are frequently colored by hand with the air 
brush, or a sable brush, and used by manufacturers for showing their 
products in natural colors. They are also much used for calendars 
and art subjects, for decorative purposes, etc. Prints for hand coloring 
should be made in black and white on matte or semi-matte paper and 
slightly underprinted. Most commercial photographers have facilities 
for hand coloring prints for their customers; the cost depending entirely 
upon the amount of detail and the manner in which they are handled. 


COLOR PHOTOGRAPHY 


The various processes are classified under two distinct headings, 
additive and subtractive. By one method, in the former class, three 
negatives are made through red, green and violet-blue filters. From 
these negatives, monochrome (black and white) positives are made 
which are projected on a white screen, from separate lanterns, so the 
images fall upon each other in perfect register. The light from each 
lantern must be projected through a color filter similar in color to that 
from which the respective negative image was formed. The opaque 
images in the different positives permit the right portions of light to 
pass to produce the various colors when the combination is trans- 
mitted to the screen. 

The Lumiere process involves the sprinkling of the plates, by the 
manufacturer, with a fine deposit of colored starch grains, each one 
hundred parts carrying a proportionate mixture of green, blue-violet 
and red-orange. 

This method of photographing in color is better known commer- 
cially as the ‘‘autochrom”’ process. Aside from the ordinary photo- 
graphic equipment, the materials necessary are the autochrom color 
plates, a special color filter, two chemical solutions—which can either 
be purchased ready for use or prepared by the photographer himself— 
and “‘virida”’ papers, used as light screens when developing. 

The plates are loaded in the holders and exposed with the glass 
side, sprinkled with the color grains, toward the lens. A special yellow 
screen or ray filter is used, and as the light passes through both the 
color screen and the layer of colored starch grains before reaching the 
sensitized side of the plate, time exposures are necessary. 

The first step in developing the plate after exposure is in the dark- 
room where the lantern, or other source of illumination, is screened 
with the “‘virida’”’ papers. The plate is here passed through the first 
solution, which gives a negative image, and the positive image is ob- 
tained by the use of the second solution in daylight or strong artificial 
light. The first solution is now poured back over the plate and it is 
redeveloped. 


By the Warner-Powrie process of color photography a screen plate 


COMMERCIAL PHOTOGRAPHY 43 


with recurring fine lines representing the three colors is used. The 
plates are coated with an emulsion so that negatives in color can be 
secured with very brief exposures, and from these negatives positives 
in natural colors can be produced indefinitely. The negatives may be 
taken anywhere with an ordinary camera at a single exposure and de- 
veloped with an ordinary developer. 

Results by the additive method are not suitable to apply to paper 
and the subtractive process must be employed for making prints on 
paper. In the subtractive process of color photography the additive 
operation is reversed and wherein red, green and violet-blue light were 
added to obtain white, the red, green and violet-blue are now sub- 
tracted from white to get black. 

In photography the operations result as negative. White is repre- 
sented as black in the negative, which protects the paper on which the 
print is made so that it remains white, and black, on the contrary, does 
not photograph but appears as clear glass and allows the light to pass 
through and prints as black. So in color printing, as well as color 
photography on paper,:the red, green and violet-blue sensations are 
subtracted from the white with colored pigments which are light mix- 
tures of the colors that have not photographed. For example, in photo- 
graphing through a violet-blue filter the red and green do not photo- 
graph. Red and green light added together produce yellow and there- 
fore the violet-blue image is printed in yellow. Similarly, the image 
through the green filter is printed in red (magenta), a mixture of the 
red and blue light. The image through the red filter is printed in blue 
which is a mixture of green and blue light. 

All color printing processes are subtractive processes, so called color 
photographs by superimposing carbon tissues of the three colors, 
yellow, magenta and greenish-blue made from their respective negatives. 

There are also methods in which dyed positives are used to transfer 
the image in dye to a gelatine coating on white paper, the wet paper 
being applied to the respective stained positives and the color being 
transferred from the plate to the gelatine coating on the paper. This is 
known as the imbibition method and of which the Pinatype process is 
probably the best example. 

A process invented by Dr. Traube utilizes three black and white 
positives, made from the separation negatives, in which the silver is 
bleached to a silver iodide taking up the dye stuff. The positive films 
are stripped off and superimposed over each other after the silver 
image is dissolved away and the colors fixed with tannic acid. This is 
known as the Diachrome process. 


PHOTOMICROGRAPHS 


Magnified pictures known as photomicrographs of specimens or 
sectional views are often used in scientific and explanatory work. 
Minute pathological specimens from the human body may be photo- 
graphed in the following manner: Any tissue, after being removed 
from the body, is prepared by fixing in a 10% formaldehyde or other 
fixative fluid to prevent decomposition and it is then decalcified, if it 
contains hard substances, such as bone or tooth-substance, in a 5% 
nitric acid until it is soft enough to be cut. The specimen is then 


4A. COMMERCIAL ENGRAVING AND PRINTING 


washed and the acid neutralized and it is imbedded in paraffin and 
mounted on a block. This block is attached to the microtome, an 
instrument which cuts the specimen into very fine sections. 

Some of the sections are selected and stained by one of the various 
pathological or histological staining methods and then mounted on a 
microscopic slide. It is now ready for microscopic examination. 


Round halftones, no finishing line, 150 line. Made from photomicrographs, from which considerable of the sur- 
rounding subjects were trimmed to conserve space and at same time show the images same size as in the original copy. 
The view at left is soda fibre and that at right sulphite fibre as used in making paper. 


Fig. 69. Photomicrographs. 


The work of reproduction of this specimen or part of it can be done 
in either of two ways—by having an artist make a drawing or painting 
of the microscopic picture, or by the photographic process. For the 
latter is used a special photomicrographic apparatus, which consists 
principally of an intense light, such as an arc light, the rays of which 
are directed by means of lenses through filters to the condenser of an 
especially fine microscope. 

Various magnifications can be obtained, the low power lenses 
usually giving a picture of the entire specimen, while different combi- 
nations of high power lenses and oculars give various magnifications 
of the small parts of the specimen. The microscopic picture is thrown 
on the screen of a camera and finally photographed on a photographic 
plate, from which prints are made in the usual manner. 


X-RAY PHOTOGRAPHY 


This is also known as radiography and is the process of making 
photographs with x-rays. It is extensively used by the dental and 
medical professions in diagnostic and research work, and many half- 
tone reproductions are made from such photographs for use in books 
and journals published in the interest of these professions. Its use 
for commercial illustrations is somewhat limited. 

A radiograph differs from a photograph in that it shows a shadow 
of the image, or subject, which has been cast on the photographic plate 
by the x-rays instead of showing the exterior as a camera would see it. 
The x-rays are produced by an electric current of high voltage gen- 


COMMERCIAL PHOTOGRAPHY 45 


erated by an x-ray machine through an x-ray glass tube, from which 
they are projected through the object being photographed to the photo- 
graphic plate or film. 

No camera is used, and the film or plate is exposed while enclosed 
in a double wrapper of special light-proof paper. The sensitized plates 
are in this manner protected from injury by daylight or all artificial 
light except the x-rays. While the films and plates used in ordinary 
photography may be used in this work, better results are obtainable 
by using those made especially for x-ray work, which may be obtained 
in the different standard sizes up to 14x17 inches. 

The special films for dental use, obtainable in sizes 144x1%% to 314x3 
inches, have an outside wrapper of oil paper that the film may be placed 
in the mouth under or back of the tooth or teeth to be photographed, 
without injury to the film. 

In making the exposure the sensitive side of the plate is toward 
the tube. The object being photographed is placed in as close con- 
tact to the plate as possible, and between the plate and tube. The 
switch is turned on and the x-rays are directed toward the plate, 
penetrating the object being photographed and the paper around the 
plate. The more opaque parts of the subject make a more dense 
shadow than the less opaque parts. The x-rays are invisible, although 
they give rise to a varying fluorescence. 

The time required for exposure varies, depending on the subject, 
the power of penetration of the tube and other conditions, but at most 
it does not exceed a few seconds. 

While the wrapped plate may be handled and the exposure made 
in daylight or artificial light, the plate must be unwrapped and de- 


Outline finish halftone, 150 line. Illustration of the machine made from a retouched photograph. Upper view at 
left made from a print from a positive of the original negative and shows the usual form in which X-ray photographs 
are used. The view just below was made from a print from the original negative. 


Fig. 70. X-ray photographs and outfit for making them. 


46 COMMERCIAL ENGRAVING AND PRINTING 


veloped in a dark room, and the methods of developing, making contact 
prints, bromide enlargements or lantern slides from these negatives are 
the same as those used with photographic negatives made in the usual 
way. However, as the original negative is usually used for study and 
demonstration purposes, when photographs or reproductions are used 
they are usually made from a positive made from the original negative. 


BROMIDE ENLARGEMENTS 


Enlarged prints for retouching, framing, etc., are made by enlarging 
from negatives, usually 8 x 10, 5 x 7, or smaller, and are known as 
bromide enlargements. 

The process of making a bromide enlargement is very similar to that 
used in throwing a stereopticon view on a screen. In the stereopticon 
a slide is used which is positive in character, and the visible image on 
the screen is likewise positive—or, in other words, the same as objects 
would appear in real life. In making a bromide enlargement a negative 
is used, instead of a positive. 

In the order in which they are placed, the printing light comes 
first; then a piece of specially ground glass which diffuses the light; 
then the negative, then the lens; and finally the printing paper which 
corresponds to the screen in the case of the stereopticon. 

To the eye the impression on the printing paper would be negative 
in character, or exactly the same as the negative from which the print 
is being made. In the development of the printing paper the negative 
is changed to a positive, so that the final result is a positive print of 
the subject on the paper. If the positive used in the stereopticon 
were used to make a bromide enlarge- 
ment, the appearance to the eye on 
the paper would be positive in char- 
acter, but the development of the 
print would change it to a negative. 

To obtain enlargements with good 
detail, the negative from which they 
are made must be sharp. The size of 
the enlargement is optional with the 
operator and is determined by the 
distance the paper is placed from the 
lens, and the focal length of the lens 
used. 

The modern way of making en- 
larged prints is by the use of a pro- 

Square halftone, 150 line, with line. Made from geet printer aS shown 10 Fig. 71B. 
a retouched photograph. The negative is placed in the camera, 

“Fig. 71B. A Projection Printer, Just under the lamp in the dome, with 
the lens below, and the image is pro- 
jected to the printing paper on the table beneath. The camera is 
raised or lowered on the swinging arms to expand or contract the image, 
which is automatically kept in focus, and when in position for size 
wanted is locked at that point while the required prints are being made. 


*Tilustration courtesy of Eastman Kodak Co. 


COMMERCIAL PHOTOGRAPHY Ag. 


b. ACETYLENE 


FOR EVERY PURPOSE | BocsTope EVERY PURPOSE 


at 


Square halftones, with finishing line, 150 line. Made from unretouched photographs. The view at left is an exact 
reproduction of the original photograph and that at the right shows a partial correction of the distortion by tipping 
and bringing the top of the copy nearer the plate than the bottom. 


Fig. 72. Distortion. 


ENLARGING NEGATIVES 


A negative can be reproduced in a larger size by first making a 
positive from it, then making the larger negative from this positive. 
Too much enlargement will produce a granular effect. 

Prints from the enlarged negative—if it has been properly made 
by the above method—will be better and have sharper detail than if 
a bromide enlargement is made from the original negative and a new 
negative made from the enlarged print. By the last named method it 
will be possible to do retouching or make alterations in the subject 
which would be impossible under the former method. 


CORRECTING DISTORTION 


If a photograph shows much distortion—caused from pointing the 
camera upward—and it is impractical to get another photograph of 
the subject, a negative can be made which will eliminate the distortion 
to some extent. The negative is placed in a frame, tilted at such an 
angle that the widest lines are nearest the lens, and from this a posi- 
tive is made, tilting the ground glass at an equal angle but in the 
opposite direction. A new negative is then made from this positive. 


HALATION 


Halation in a photograph is produced by the strong rays of light 
from a window, artificial light, or other source, which conflict with the 
middle tones and destroy detail in the part affected. It may also be 
caused by the reflection of light from the back of the plate. This is 
avoided, to some extent, by the use of non-halation plates and film. 
This kind of plate is first coated with a slow emulsion, which prevents 
extreme high lights from reaching the glass and reflecting back to the 
film. After this slow emulsion is dry, the plates are again coated with 
a somewhat faster emulsion, which will pick up the details in the 


Pages 33 to 48, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


A8 COMMERCIAL ENGRAVING AND PRINTING 


Square halftones, no finishing line, 150 line. Made from unretouched photographs. The halation in view at left 
was caused by the electric lamps, and that in the one at right. by pointing the camera toward the sun. 


Fig. 73. Halation. 


middle tones and shadows. Halation is also avoided by backing the 
plate with some non-actinic material having the same refractive index 
as the glass. 

BLUE PRINTS 


Comparatively few blue prints are made from photographic nega- 
tives, as blue print paper does not give good results from negatives 
and quickly deteriorates so that it is unfit for use. It is not practical 
to make halftones from them. Most blue prints are made from trac- 
ings which have been made on transparent tracing cloth. These 
tracings are usually drawn with black drawing ink, and when the cloth 
is placed over the sensitized paper and exposed to the light, the image 
on the tracing cloth or negative is fixed on the print paper. When this 
is developed and washed it leaves the object as represented by black 
lines on the tracing, white on a blue background. 

Most of the blue prints from tracings are made on automatic 
machines, constructed especially for making prints for architects, 
mechanical engineers, etc. These machines work very rapidly and the 
paper used by them is not suitable for printing from a negative. While 
blue prints can be reproduced through the aid of color filters and 
special plates, the expense will be greater and results may not be as 
good as if black and white photographic prints from negative or 
original tracings are used. 


LANTERN SLIDES 


Lantern slides are produced by first making a negative, reducing or 
enlarging the subject to the required size, and from this negative 
making a positive on glass in a copying camera, or by contact exposure 
in practically the same manner as a photographic print is made from a 
negative. This positive is then specially mounted with a cover glass so 
as to bring the film side between the two sections of glass, which are 
tightly fastened together with binding strips of some sort. Thestandard 
size for lantern slides is 4x3]4 in. 


lh 


COMMERCIAL PHOTOGRAPHY 49 


When this positive is placed in the projecting machine, the image 
which is cast on the screen is positive in character, the same as the 
slide itself. Halftones or line etchings may be made direct from lantern 
slides by placing the slide in a holder and projecting light through it to 
the plate in the camera, instead of reflecting light from the copy on the 
copy board in the usual way. Line etchings, of course, can only be 
made from slides that are in line. 


MOTION PICTURES 


The negatives for motion pictures are made on a flexible film, fed 
rapidly behind the lens, the shutter of which is mechanically operated. 
The principles involved in the use of the film and the lens are, of course, 
the same as in other cameras. 

The distinctive features of the motion picture cameras are the 
square magazines or retorts, one of which contains the roll of unused 
film, while the other takes up, rewinds and holds the film after it has 
been exposed. The progress of the film as it passes behind the lens 
in exposure is controlled by a special cam and shuttle intermittent 
movement. A new section of film appears behind the lens after each 
exposure, being forced into position by a claw movement which 
engages in sprocket holes on each side of the film; the shutter opening 
and closing after each exposure, and at a speed of from fifteen to thirty 
times a second, which is the equivalent of 
900 to 1800 separate pictures a minute. An 
indicator on the side of the camera informs 
the operator at any time the number of 
pictures which are being taken per second. 


FOR SALE BY 


Square-outline halftone, 150 line. Made direct from the original Outline finish halftone, 150 line. Made 
slide. Two negatives were required, one for the binding and face from section of the film, from which 15 
of the plate up to the transparent section and another (a positive) exposures was eliminated between each of 
for the transparent section. These were stripped together and the those reproduced. The film for projection 
lines where the negatives joined were painted in solid on the plate is a positive (as illustrated) made from 
before it was etched. the original negative film. 


Fig. 74. Lantern slide. Fig. 75. Moving picture film. 


50 COMMERCIAL ENGRAVING AND PRINTING 


The films are one and three-eighths of an inch wide and any length up 
to 1,000 feet. In the making of any subject, of course, many parts 
are entirely omitted and new scenes inserted, the film being patched 
to complete it in the manner desired. 

To reproduce the pictures a positive strip is printed directly from 
the developed negative, and this strip is passed through the moving 
picture projecting machine, in the same order in which the original 
film was fed through the camera, the pictures being projected on the 
screen, through a lens, by a strong light, similar to the showing of a 
lantern slide. 

Motion pictures, in addition to their uses for entertainment, in- 
struction, historical, demonstrative and advertising purposes, are 
often made use of for reproduction to obtain illustrations of unusual or 
special poses or scenes that it would be impossible to obtain by the 
usual methods of commercial photography. 


ENLARGEMENT OF PHOTOGRAPHS 


While it is possible to enlarge photographs in making halftones, as 
well as to reduce them, it is not always practical. The result depends 
on the sharpness and detail of the photograph that is to be copied, the 
kind of print, and the amount of enlargement desired. 

Halftones as large as 14 x 17 have been successfully made from a 
4.x 5 photograph, but as all photographs will not enlarge satisfactorily, 
it is advisable to consult the engraver regarding the copy before making 
definite plans for enlargement. 

While occasionally satisfactory plates are obtained from penny 
photographs or the poorer quality of postcard portraits, it is not safe 
to depend upon them. The experienced, high-class photographer, 
with a well-equipped gallery, is the one that should be depended upon 
for satisfactory results, and it is hardly reasonable to suppose that his 
work can be equalled by those who specialize in cheap pictures. 

As the small photographs nearly always require enlargement to get 
a reproduction of the size wanted by the customer, it is all the more 
probable that results will be unsatisfactory, as there is little detail in a 
small picture that has been made with an imperfect or cheap lens. 
The small picture, however, that has been properly made can usually 
be satisfactorily enlarged, although a reduction, rather than an enlarge- 
ment, should always be contemplated. 


SUGGESTIONS 


The making of a halftone is simply a process of copying the pho- 
tographer’s work, and any imperfections therein, instead of being 
reduced or obliterated, are reproduced in their entirety. 

The photograph of the object should be slightly larger than the 
halftone that is to be made from it, if the best results are to be obtained. 
There is no percentage or scale for the best results in reduction—this 
depending upon the conditions in each case, but an allowance of 10%, 
to 25% is usually ample. It is usually more convenient and less 
expensive to make an enlarged print from a smaller negative, when the 
print is to be retouched, than to make an original negative of large size. 


COMMERCIAL PHOTOGRAPHY sa 


It is, of course, possible to make halftones the same size as or larger 
than the photographs from which they are made, but the results are 
usually not so good as when a slight reduction, at least, is possible. 

It should be the aim of the photographer to produce prints that 
will require the least retouching when making halftones. This is 
advisable for two reasons: first, the retouching of photographs for 
halftone work is expensive; secondly, prints that require the least 
retouching give the most natural results in the halftones. 

A print which requires very little retouching to produce a first- 
class halftone is a good one for all other purposes, but a print that is 
good for all other purposes may be a very poor one from which to 
produce a first-class halftone. 

In order that the halftones for a series of catalog illustrations may 
be uniform, great care should be exercised to develop or tone all of the 
prints uniformly from which the halftones are made. 

Thick print papers with a greasy surface are very unsatisfactory 
for retouching. While the paint used for retouching may be made to 
stick to the surface temporarily, a great deal of difficulty is experienced 
with copy of that kind when it is used continuously for plate making, 
as sooner or later the paint begins to crack and fall off. This necessi- 
tates frequent retouching for there will be imperfections in the plate, 
if the scaled off places are allowed to go unrepaired. 

As the contrasty print has hard, chalky highlights and extremely 
dark shadows, such a print will, in the ordinary course of handling, 
almost invariably become more contrasty in the finished plate. Such 
a photograph is also usually lacking in detail except in the middle tones. 
With an even toned effect in the photographic print, a wider range of 
manipulation is possible in the process of rephotographing and etching. 

Prints should not be trimmed before sending to the engraver, and 


Square halftone, no finishing line, 150 line. Incisions were made in a sheet of light gray cover stock in which the 
orners of the photograph were inserted. The upper corners show one method of inserting and the lower another. 


Fig. 76. Temporary mount for unmounted photographs. 


be, COMMERCIAL ENGRAVING AND PRINTING 


fond 


their condition on arrival will be much better if sent flat and not rolled. 
Special mounting may frequently be required for the work in which 
the prints are to be used, so it is best to send them to the engraver 
unmounted. Care should be taken not to mar the print by the em- 
bossing of an imprint on any part of it that is to be reproduced in the 
halftone. The embossed imprint very seldom reproduces in a legible 
manner. In fact it usually gives the appearance of a defect in the 
halftone plate. An imprint may be more neatly shown by drawing it 
on the print with pen and ink or brush. 

When lettering is to be added to a negative, to be reproduced in all 
prints from that negative, it will appear in white on the print if it is 
put on the negative in black or opaque, or in black on the print if 
transparent on the negative. Unless such lettering is neatly done on 
the negative it is advisable to have it painted on the print by an en- 
graver’s artist, or otherwise. Such lettering is often added by first 
printing it from type or plate on a thin sheet of celluloid and then 
placing the sheet of celluloid between the negative and paper while 
making the print. 

Figure 76 illustrates a method of temporarily mounting prints by 
using stiff paper or thin cardboard, in which incisions have been made 
for inserting the corners of the photograph. When a print is used in 
this manner the same number should be placed on the back of the 
photograph as is used on the mount, that no confusion will be experi- 
enced in case the instructions which have been written on the mount 
become separated from the photograph belonging to it. 

It is not advisable to attach a mask with wire clips, showing how 
to trim. These clips are not only likely to mar the face of the photo- 
graph, but, as they are easily moved—by accident or otherwise—the 
instructions may not be properly carried out. Better to slightly notch 
the edge of the print with shears, or to indicate by a small mark with 
pen or pencil on the margins what part of the print is to be omitted 
in the plate. Or, in the case of thin unmounted prints, they may be 
placed with the face against a window, and that part of photograph 
which is to be reproduced indicated on the back with a soft pencil. 

The photographer fixes his charges on the basis of so much per 
negative of a certain size, with so much additional for each print from 
the same negative. An additional charge is made for time consumed 
in the special preparation of subjects that require particular care and 
attention, and also for traveling expenses and the waiting time in case 
the subject is not ready to photograph after the photographer has been 
called to do the work. The use of color filters and orthochromatic 
and panchromatic plates, also a view taken with the camera overhead, 
usually call for an additional charge. 

The price charged per negative is based upon the supposition that 
the subject may be readily posed and the negative made at the gallery 
without loss of time. Any work deviating from this is subject to an 
additional charge, depending upon the time consumed and materials 
required. An additional charge is always made for use of flashlight. 


*Fig. 100. 


must be kept in mind that one dimension reduces proportionately 

with the other. It is possible to reduce or enlarge either height or 
width the smallest fraction, but in changing one the other must be 
changed with it in the same proportion—not the same measure. Of 
course, if both dimensions of the copy are the same, they will remain 
equal in any enlargement or reduction, as, for instance, if the part to 
be reproduced measures 4x4 inches, it is apparent that when it is re- 
duced one-half it will come two inches in height and two inches in 
width. However, if the copy is four inches in width by three inches 
in height, and it is to be reduced one-half, it will come one-half the 
width and one-half the height, making the size of the reduction two 
inches wide by one and one-half inches high. Intermediate sizes or 
smaller sizes would, of course, reduce in the same proportionate way, 
while an increase in the size of the original 4x3 would mean a propor- 
tional enlargement of both dimensions. 

It must also be kept in mind that each and every object, line or 
detail in the copy will be reduced in the same proportion as the design 
over all. A copy that is reduced two-thirds will appear in the plate 
just one-third as high and one-third as wide as in the original, thus 
occupying only one-ninth of the area of the original. See Fig. 104. 

A convenient method of ascertaining the size of a reduction of any 
copy is to lay out on the back of the photograph or drawing, or on a 
tissue overlay covering it, a rectangle of the exact size of the part that 
is to be reproduced and draw a diagonal line from the lower left corner 
to the opposite upper corner. Locate on the diagonal line the known 
width or height wanted in the reproduction at the point above the 
bottom line of the rectangle, or at the point opposite the vertical line 
on the left and the distance from the bottom or the vertical line will be 
the other dimension. 

For illustration, suppose a copy measuring four inches left to right 
by three inches high is to be reduced to two and one-half inches left to 
right. Starting from the lower left corner of the rectangle measure off 
the size wanted on the lower line. From this point extend a perpendic- 
ular line to the point on the diagonal line directly above, and this will 
indicate the height of the reduction. A line from this point extending 
to the left line of the diagram will complete the outline of the proposed 
size, and in this case it is 2%4x17% inches. If the height is given and 


|: enlarging or reducing copy by photographic process, the fact 


*Line etching on zinc from pen drawing. Tints in border and background obtained by the use of the shading machine 
on the plate before etching, while the tint in the lettering was obtained through the use of the machine on the negative 
before making the print from it on the metal. 


54. COMMERCIAL ENGRAVING AND PRINTING 


*Fig. 101. TFig. 102. 
A simple method for obtaining dimensions of enlargements or reductions. 


the width is to be ascertained, measure up on the left line from the 
lower left corner and then to the right to the point opposite on the 
diagonal line. 

The printed scale used by engravers or that used by electrotypers 
will also be found convenient for determining sizes and proportions of 
reductions and enlargements. By placing a ruler or string on the scale, 
extending from the lower left corner to the point of known size, width 
and height, the direct line between the two points will cross every point 
of correct proportion. Ora hand-made, accurately ruled diagram with 
string, as illustrated, will effect a great saving of time to those who have 
much of such estimating to do. 

The string as shown on the diagram in Fig. 103 indicates the exact 
measurements of any reduction that can be made from a copy measur- 
ing six by three inches, the points cut by the string showing sizes: 2x1, 
3x14, 34x14, 4x2, etc. 

Proportions of reduction or enlargement may also be determined 
by the rules of proportion; that is, when three of the measurements 


ORIGINAL SIZE 


v4 REDUCTION 


Mo ORIGINAL AREA 


Ve REDUCTION — 


¥4 ORIGINAL AREA 


34 REDUCTION 


“6 ORIGINAL 
AREA 


Line etching on zine from pen drawing. 


Line etching on zine from pen drawing. Fig. 104. The area of reproductions 
Fig. 103. A convenient scale. compared with that of copy. 


*Fig. 101 is a square finish double print halftone, no finishing line, 150 line, made from photograph over which tissue 
overlay, or cover, had been placed. The upper edge of cover was folded over and pasted to the back of the photograph, 
and the lower right corner of tissue was rolled back and tipped down with paste. The ruled lines and lettering were drawn 
on the tissue sheet and from this drawing a line negative was made which was used in making the double print halftone. 

Fig. 102 is a combination double print halftone and line etching on copper, 150 line screen. Made from same 
photograph as used in Fig. 101. Pen drawing was made of the diagram and lettering from which a line negative was made 
and used in making the double print. Border line around halftone obtained by double printing, the halftone screen 
being trimmed and routed away outside the border line. 


PROPORTIONS 55 


are known, the other may be obtained by a simple problem in propor- 
tion. For example, a copy 35 inches wide by 49 inches high is to be 
reduced to nine inches high. How wide will it come? (35 : 49:: (?) :9.) 
Multiplying 35 by 9 and dividing the product by 49, we obtain 6.42+ 
which is the width of the proposed reduction. 

There is also published in booklet form a schedule of tables of re- 
ductions and enlargements, and simplified charts and devices are ob- 
tainable, but owing to the fact that all dimensions cannot be tabled, 
it is more practical to use a scale or diagram in the manner suggested. 

If copy is not rectangular, but is outline, oval or vignetted, simply 
take measurements of extreme width and extreme height. 

Large copies may be scaled by dividing each of the two dimensions 
with any common divisor, obtaining a size that will come within the 


LOGARITHIBIC 


a 
£ OF PROPORTIONS 


Line etching on zinc from pen drawing. Outline finish halftone, 150 line. Made direct from 
the original. 
Fig. 105. To obtain size in the repro- ke : ; 
duction of a given part when size Fig. 106. The Logarithmic. 


is given for entire copy. 


scale in use and using that in connection with scale or chart. Ex- 
ample: A copy 28 inches wide by 42 inches high is to be reduced to nine 
inches high, what will be the width? Using seven as a common divisor, 
the resulting proportions are four by six, and now employing the 
printed scale with these dimensions it is readily found that when 
enlarged to nine inches high the width will be six inches. The plan is 
simply reversed by multiplying to obtain the dimensions of an enlarge- 
ment from a small copy. 

Frequently, a desired proportion may be obtained by trimming off 
or adding to the background by drawing, but subjects having a definite 
outline are more difficult to handle. Some, such as borders, designs, 
etc., can be changed by patching, while others, as machinery and 
other objects of fixed outline, cannot be changed. 

The following plan will be found practical when desiring to de- 
termine what size a certain part will come when the entire copy is to be 

*The Logarithmic is a device for finding the dimensions of a reproduction of any size made either larger or smaller 
than copy. It consists of two circular pieces of cardboard, the smaller of which is mounted over the larger in a manner 


permitting it to turn. On the outer edge of each card is printed a scale to be used in determining sizes. This device may 
be obtained from the publishers of CommerciaL ENGRAVING AND PRINTING, price 25c, postpaid. 

Pages 49 to 64, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


56 COMMERCIAL ENGRAVING AND PRINTING 


enlarged or reduced. In Fig. 105, panel ABCD contains an inner 
panel EFGH. To find the size and position of the inner panel, when 
panel ABCD is reduced to size A’B’CD’ first extend sides EF and GH 
until they meet line BD. Then extend sides EGand FH until they meet 
line AB. From points JKLM draw diagonal lines JC KC LC and MC. 
Where these diagonals strike sides A’B’ and B’D’ determines the height 
and width of the reduced inner panel E’F’G’H’. To obtain the 
boundary of the inner panel draw lines L’E’ and M’G’ parallel to 
A’B’, and J’G’ and K’H’ parallel to B’D’. 

Where a suitable camera is available, its use for determining new 
proportions of complicated copies will be found advisable, because of 
the accuracy and quickness with which the dimensions may be found 
by simply focusing the copy to proper size and then taking the 
measurements as shown on the ground glass. 


HE materials and equipment required in the production of line 

and wash drawings and for the retouching of photographs are 

more numerous than the layman would surmise. Inks, crayons, 
water colors and oil colors in a wide range of colors, pencils in various 
degrees of hardness, pens of different sizes, fountain and regular ruling 
pens, compasses, dividers, brushes of various sizes, paper for rough 
sketches, tissue paper, tracing cloth, tracing paper, penboard, wash- 
board, mounting board, frisket paper, silver print paper, erasers, 
thumb tacks, palettes, T-squares, scales, rules, straight edges, curves, 
drawing boards, drawing tables, card trimmers, pantographs, air 
brushes, shading machines, oval and circle cutting machines, books of 
reference, etc., are among the articles in use. 

An extensive assortment of paper is, however, not usually kept on 
hand. In the preparation of a dummy for booklet or catalog in which 
special papers are used, a selection of the paper is made from the sample 
files of paper jobbers and the jobber is furnished with specifications 
for the special dummy. On this the sketches and other suggestions 
pertaining to the work under consideration are submitted. 


TRACING PAPER 


When the size of the subject is to be the same in the new copy as 
in the old, tracing paper is often used in transferring the outlines of it, 
in part or entire, to another sheet for drawing. The outlines are first 
traced on the transparent paper and after the reverse side of the sheet 
has been given a covering of color with a soft pencil, the sheet is 
placed on the surface that is to receive the new drawing and the design 
is transferred by re-tracing the lines on the face of the first sheet with 
a hard-pointed pencil. Or, the design may be transferred by using a 
sheet of carbon paper between the sheet of tracing paper and the 
surface to which it is to be transferred. 


SILVER PRINT PAPER 


This is the trade name for a special sensitized paper extensively 
used by artists for making pen drawings. A photographic negative 
of the copy to be re-drawn is made in the usual way, except that 
extreme care is not necessary in making the negative. The negative 


*Line etching on zinc from pen drawing. The tint in the oval border was obtained by the use of the shading machine 
on the plate before etching. 


58 COMMERCIAL ENGRAVING AND PRINTING 


may be made of any size convenient to the artist, either larger or 
smaller than the copy, or of the same size, the size usually being 
determined by the size of the plate to be made from the drawing. A 
print is made from the negative on silver print paper in the same 
manner that a photographic print is made from a negative, except 
that here again special care is unnecessary. After the print has been 
fixed, washed, dried and mounted the artist in making the new 
drawing follows the outlines of the image on the print, using pen and 
water proof ink, and makes the new drawing or such part as is wanted 
right over the image on the silver print. After the drawing is com- 
pleted, it is bleached with a weak solution of potassium cyanide and 
washed in clean water. All traces of the photographic print on the 


Outline-vignette finish halftone, 150 line. Made from photograph slightly retouched. The various articles were 
placed in position as shown and the entire group photographed at one time. 


Fig. 116. Some of the instruments and materials used 
by commercial artists. 


paper disappear in this bleaching and washing process, leaving on 
the white surface only the ink lines, which are suitable for repro- 
duction by the line etching process. Usually some additional work is 
required on the drawing after it has been bleached and, since the 
general outline of the subject and the essential detail have been 
obtained, the shading and finishing lines are easily applied to complete 
the drawing. 

Owing to the stretch in the paper which comes about in the process 
of bleaching, washing and mounting, care must be exercised when 
exact proportions are to be maintained, and borders or rectangular 
subjects should be corrected with the square. 

The silver print method is also often used to obtain a print from 
which to trace the outlines of a subject to be drawn in wash, or by 
some other method, but it cannot be used, without bleaching, as a basis 
on which to make a wash drawing. | 
__ As every detail in the sketch or drawing of the subject to be copied 
is enlarged or reduced photographically, correct proportions are 


Art Room ACCESSORIES 59 


*Fig. 117. Process of making a pen drawing over a Silver Print. 


obtained and a considerable amount of time is saved over that which 
would be required if the layout for the new drawing were made 
through free hand sketches, drawing, or by the use of the pantograph. 


ROSS PAPER 


Although it is little used now, Rossboard, or paper, was, before 
the invention of the shading machine, extensively used in making 
ruled or other shaded surfaces similar to those now produced by the 
use of the machine for reproduction by the line etching process. The 
board, so named after the inventor, is made with printed indented 
lines, stipples, etc. Some of the boards are suitable for use with pen 
and ink, others may be scratched with a special knife, while others 
may be drawn upon with crayon for obtaining effects similar to those 
obtained by the use of the shading, or ruling machine. The surfaces 
of these papers are finished in a variety of textures, varying from fine 
to coarse, as well as irregular patterns and various forms of geometrical 
ruling. 

SCRATCH BOARD 


This is also a cardboard with a thick enamel surface of special 
finish. Drawings are made on it with pen and ink and are afterwards 


Combination outline halftone and line etching on copper, 150 line. The view in circle at left in the upper row 
is a reproduction of the original photograph; the view in center of top row a reproduction of the silver print, made from 
the original photograph; the view at right in the upper row the silver print after having been inked in; the lower left view 
a halftone of the drawing after the print was bleached, and the lower right view a line etching from the finished drawing. In 
making this group a pen drawing was first made of the group of circles and from this a line negative. Into this nega- 
tive was stripped the four halftone negatives as shown in the three upper circles and the one at left in lower row, while 
a line negative was stripped into the lower right circle. 


60 COMMERCIAL ENGRAVING AND PRINTING 


Al 


f m 


\ 


Line etching on zine. Line etching on zinc. 


Fig. 118. From drawing Fig. 119. From drawing 
on Rossboard. on scratchboard. 


finished by scratching with a knife or other instrument to obtain 
special shaded effects. It is also especially adapted to machine shading 
when this is to be applied to the copy, instead of to the print on metal 
or the negative. 

THE PANTOGRAPH 


This is a device used for transferring the outline of sketches, prints, 
drawings, photographs or illustrations of any kind, or even of objects 
themselves that are to be copied in a larger or smaller size in either 
line or wash drawings. The graduated bars on the device may be 
adjusted for any scale of reduction or enlargement that the operator 
may desire. After adjustment, the original that is to be copied is 
placed under the tracing point and the paper on which it is to be 
copied under the pencil. The pencil (A) is then moved over the 
paper, carefully following the lines of the original with the tracer (B). 


Square-vignette finish halftone, 150 line. Made from slightly retouched photograph. 


Fig. 120. The Pantograph. 


Art Room ACCESSORIES 61 


OVALING MACHINE 


In the trimming of photographs or the laying out of pen or wash 
drawings there is no fixed rule as to the proportion of length to the 
width of ovals and usually the nature of the subject, the purpose for 
which it is to be used, or the ideas of the artist will determine the pro- 
portion. As almost an unlimited number of sizes and proportions are 
used, it would take a very large amount of time to draw or cut patterns 
correctly for the various sizes that are required. Hence an oval and 
circle cutting machine, of which there are several makes, is almost 
indispensable. The Ellipsograph shown in our illustration is an instru- 
ment that will draw with pen or pencil, or cut film or paper in circles 
of any diameter up to 20 inches and ellipses of any proportion up to 
18 by 30 inches, and do the work in a way that is scientifically and 
mechanically accurate. The adjustment for size is made on two arms 
that are graduated to thirty-seconds of aninch. This machine is largely 


Square-outline finish halftone, 150 line. Made from retouched photograph. 
Fig. 121. The Ellipsograph. 


used by photo engravers for trimming rectangular photographs to 
ovals or circles for mounting in groups and for cutting halftone or line 
negative films that are to be stripped into other negatives of back- 
grounds or groups, or that are to be finished in oval or circle style. It 
is also largely used by photographers for trimming portrait prints to 
any required size for mounting, and by lithographers for laying out 
ellipses and circles on stone or zinc. 


THE AIRsBRUSH 


In the retouching of photographs and the making of wash drawings 
the air brush has an important place. With it the color is applied to 
the flat surfaces evenly and in any tone desired. It is also extensively 
used by photographers, portrait artists, architects, mechanical 
draughtsmen, monument designers, sign and show card writers, and 
manufacturers of novelties, for hand coloring photographs, prints, etc. 

It has also been adapted, in a larger form, to factory use for tinting, 
eraining, painting, and varnishing such articles as furniture, auto- 
mobile bodies, machinery, etc. It is a great time saver in the appli- 


62 COMMERCIAL ENGRAVING AND PRINTING 


cation of liquid color, paint, oil, varnish, lacquer, etc., to smooth or 
to irregular and uneven surfaces. 

Color, applied with it to a drawing, lies smooth and even, while if 
put on by hand with a sable brush it is more or less uneven with brush 
marks, which will sometimes show to more or less disadvantage in the 
halftone reproduction. It is also practically impossible to obtain with 
the sable brush by hand the smooth, even blending of high-lights and 
shadows that is easily obtained with the air brush. Hand work, how- 
ever, with the sable brush is usually required for lining up the angles 
and bringing out the small details, such as gear wheels, nuts, and the 
small parts on mechanical and other subjects. It requires a skilled and 
experienced artist to combine properly the hand work with the air 
brush work in the production of high class retouching or wash drawings, 
but an inexperienced operator can within a very short time properly 
handle the air brush for the application of plain color. 

In applying color with the air brush it is sprayed or blown on to 
the work by compressed air; thus all rough and uneven surfaces are 
smoothly covered. A small cup, or jar, carrying the color is attached 
to the side of the brush. In some brushes the color is carried in the 
barrel of the brush. The mixture of the air and color is regulated by 
the operator in the manipulation of the brush. The air is supplied 
from a tank that is usually charged by an air compressor driven by 
motor, or by hand or foot pump. 

The color is applied by strokes (of spray), as with a hand brush, 
except that the instrument does not touch the work. Full color is 
obtained by repeating the stroke, while the middle tones and high- 
lights are obtained by fewer strokes, according to the color in use and 


Square-outline halftone, 150 line. 


Fig. 122. From a drawing made with the air brush. 


results desired. The width of the spray is varied by moving with 
the finger the color-distributing lever, also by varying the distance 
the brush is held from the work. The needle is adjustable for the 
production of fine sharp lines or a wide volume of spray, as the work 
may require. 

In photo retouching with the air brush a frisket, or mask, is made 
to cover the parts of the work on which the color is not to be applied. 
This mask, which is also sometimes called a stencil, is usually made 


ArT Room ACCESSORIES 63 


of a special thin transparent waxed paper, from which the parts cover- 
ing the sections that are to be colored are carefully cut away with a 
sharp knife, leaving exposed only the part of the work to which the 
color is to be applied. This cutting of the mask must be very carefully 
done, otherwise the edges of the air-brushed surface will be rough and 
uneven in the finished work, making it unfit 
for use. The edges of this mask are held 
closely to the work with weights or with rub- 
ber cement, which is also transparent and 
permits of easy removal without 
damage to the work. Since mask 
and cement are transparent, and 


Square-outline halftone, 150 line. Made from slightly Line etching on zinc made from pen drawing. 
retouched photograph. 
Fig. 123. The air brush in use. Fig. 124. A complete air brush outfit. 


the weights are movable, the artist is able to see the density of color and 
determine its proper handling for correct combination with the color on 
adjacent parts. Small parts in a subject, that are near each other, 
require the cutting of a separate mask for each—otherwise in giving 
the proper finish to one the spray would interfere with the proper 
handling of the others. 

Drawing for Fig. 122 was made with an air brush. The border and 
letters were first laid out in pencil outline. A mask was cut for the 
border and the face of the letters, leaving all background exposed. 
After the color was applied to this, the mask was removed and a new 
one made covering the background, leaving the face of the letters 
and border exposed. After the color was applied to these, a few 
touches by hand with a fine sable brush gave the proper finish to the 
small details. 

The two pieces of furniture as shown in Fig. 125 were photographed 
on separate negatives. To get these together on a background that 
would not show a patched line, it was necessary to cut away all back- 
ground from both pieces. The cut-outs were then mounted on a plain 
white background as shown in the upper view. A mask was then 
made that the bevels (see dresser) might be air-brushed in the mirrors, 
and following the air-brushing of these, masks were made to cover the 


64 


COMMERCIAL ENGRAVING AND PRINTING 


*Fig. 125. Showing method of putting mirrors in photographs 
of furniture with the air brush. 


*Fig. 126. Completed group in which mirrors and background 
were put in with the air brush. 


*Square finish halftones, no finishing line, 150 line. 


ArT Room ACCESSORIES 65 


bevels to air-brush the reflections (see dressing table) in the main part 
of the mirrors. After the bevels and mirrors had been completed in 
the group as shown in Fig. 126, a mask was made covering the two 
pieces of furniture entire, including the mirrors, and then the back- 
ground was air-brushed in. Fig. 123 is an actual view of putting in 
this background. : 

The little silhouette in Fig. 124 very compactly and strikingly 
illustrates the artist with a complete air brush outfit in use, consisting 
of (1) the brush, (2) the adjustable working table, (3) the air com- 
pressor, and (4) tank of compressed air. 


THE SHADING MACHINE 


Frequently it will be noticed in line etchings that some of the flat 
surfaces are filled in with a stipple, grain, line or other mechanical 
shading. While such effects may be obtained by hand, the process 
would be slow and painstaking, and more or less imperfect. For these 
reasons, practically all such work is done with a shading machine. 

This machine may be used to make backgrounds; to make original 
effects in border designs; to strengthen part of an illustration by sub- 
duing the other parts; to soften the unpleasant effect of large lettering 
and solid backgrounds; to give individuality to advertising layouts; 
to relieve blank spaces in illustrations and to produce the texture 
effect of cloth in fashion illustrations; in short, for almost any kind of 
special effect that may be desired. 

It is also much used in the making of line color plates, as by its use 
several tones of each color may be obtained through only one printing 
of each color, and by the combination of the different tones and the 
different colors an almost unlimited number of effects may be produced. 

It is also used for black and white as well as for color plates for 
newspaper illustrations and for making tint plates that are to be 
printed in connection with a halftone key plate. 

Lithographers use it extensively in making their engravings of 
vignettes, backgrounds, borders, and for color work, etc. 

It is often used to produce different gradations of color for printing 
with only one color of ink. For example, if a part of the engraving is 
solid, another part shaded with a heavy film, and still another with a 
fine film, these three different parts will show up in different tones of 
the same color in the finished print. 

Line illustrations of many subjects in which machine shading has 
been used are better than coarse screen halftones from wash drawings 
for printing on the cheaper grades of paper. The lines in the former 
are reproduced in their entirety and the shading added by the machine 
gives color and body to the picture, while more or less detail is lost 
in the halftone because of the use of the coarse screen. 

While the machine may be used in a number of different ways, 
the usual method is to transfer the impression from the film to the 
paper on which the drawing is made or to the unetched print that 
has been made on metal; or, when a white line or dot is wanted on a 


Pages 65 to 80, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


66 COMMERCIAL ENGRAVING AND PRINTING 


black or dark background in the finished print, the work is sometimes 
done on the negative before the print is made on the metal. The 
method depends largely upon the desire of the operator and the effect 
sought. 
The process cannot be successfully applied to finished halftone 
plates. 
PREPARATION OF DRAWINGS AND PLATES FOR SHADING 


Illustrations that are to be shaded by machine are usually first 
drawn in pen and ink, all parts not to be shaded being finished in the 
usual way. The spaces to receive the shading, which must be smooth, 
clean, and free from patches, are left blank; and where the edges of 
the shading do not join lines of the drawing proper, a thin guide line 
is placed on the drawing for a guide in transferring the film. These 
guide lines may or may not be removed from the drawing or plate 
after the film is placed, this depending upon the effect sought by the 
operator. 

Referring to Fig. 132, it will be noticed that the artist in making 
the working drawing left a definite line to indicate the separation line 
for the different films. In the finished print, Fig. 131, it will be 
noticed that some of these guide lines have been eliminated while 
others remain. 

After the working drawing has been completed, a line negative is 
made in the usual way and a print is made from this negative on 
sensitized metal, usually a special zinc, or metal used for ordinary 
line etchings. The shading is then placed on the plate. 

The work is usually done on the plate, as, in so doing, the fineness 
or texture of the shading is reproduced in the same size in the finished 
impression as Is originally used. Thus the operator will know exactly 
the effect that the texture used will produce. In making pen drawings 
most artists prefer to make the drawing larger than the finished plate 
is to be, so that in the reduced reproduction the small imperfections 
in lines will not be visible. If the shading is done on such drawings 
instead of on the plate made from the drawing, it would mean that a 
much coarser texture would be necessary on account of the reduction. 
If a fine texture were used on the drawing it might make a very good 
appearance on the drawing itself, but when reduced in the plate it 
would be so fine as to be unsuitable perhaps for printing on the kind 
of paper to be used or too fine to reproduce satisfactorily. This is 
especially true with drawings from which plates are to be made in 
different sizes. 

It is not practical to patch or overlay a drawing with cut-outs 
from printed sheets of paper or transparent films that have been 
printed from plates made to represent different shaded patterns, and 
usually the results appear amateurish. It is impossible, or rather 
impractical, to get as perfect results by this method as may be obtained 
by the proper use of the shading machine. 

The original treatment of the drawing, together with the ingenuity 
of the operator in the combination of different shading patterns, will 
produce any number of strikingly distinctive and original effects. 


Art Room ACCESSORIES 67 


THE MACHINE 


One of the best known and most generally used shading machines 
is the Ben Day, which is named for its inventor. This machine is made 
in two styles or forms. The first, or board machine, shown at the 
left of the illustration in Fig. 127, is the style generally used by photo 
engraving houses because of the convenience in attaching copy or 
plate to the copy board, which is part of the machine, while it is being 
worked on. 

The holdfast, or stand machine, illustrated at the right of Fig. 127, 
is largely used by lithographers, newspaper publishers and others 


*Fig. 127. The Ben Day shading machines. 


who make large plates. As the base of this machine is weighted, it 
may be placed in any position on any part of a large drawing, stone, 
sheet of metal, paper or other surface, and will remain in rigid position 
while in use. 

The principal feature of the machine is the film, or screen, which 
transfers the pattern to the copy or plate to be engraved. This film, 
or screen, is a thin transparent sheet of a gelatine-like substance 
stretched in a wooden frame. The under surface of the film is engraved 
with the pattern while the upper surface is smooth. These films are 
made in a large variety of shades and effects, there being about 125 
different patterns in use. These consist of straight and curved lines, 
dots, stripes, stipples, grains, texture and miscellaneous effects. 


THE<PROCESS OF APPLYING 


The first step after the print has been made on metal, or after the 
drawing has been finished, if the shading is to be done on the drawing, 
is the placing of the plate or drawing on the copy board. The parts 


a *Square-vignette halftone, 175 line. Made from slightly retouched photograph on which the lettering was also 
awn. 


68 COMMERCIAL ENGRAVING AND PRINTING 


that are to receive the shading are left exposed while the remaining 
parts are masked out with a stencil or frisket of onion skin paper, or 
painted out with gamboge if on metal, or with glue if on paper. Great 
care must be exercised in masking or painting over the parts that are 
not to receive the shading, otherwise the copy on which the shading 
is not wanted will become impaired in such a way that a dirty and 
imperfect reproduction will result in those parts, while the shading 
itself will have rough or imperfect edges, and the whole will present a 
very unsatisfactory appearance. As the gelatine of the film and the 
masking out paper or gum are transparent, the operator is able to 
determine just what effects should be obtained in the shading for best 
results in the finished work. 

The film to be used is now selected and is placed face up on the 
inking pad and given a thorough coating with a roller charged with a 


BAO GSE ati ALLL AAPA LALO EN 


__ Square-outline halftone, 166 line. Made from slightly retouched photograph. Shows a close up view of machine 
with plate (A) on board ready to receive print from film (B). The dark portions of the plate have been gummed out 
leaving exposed the light portions which are to receive the print. 


Fig. 128. A plate ready for machine shading. 


specially prepared ink. A different ink is used for metal from that 
used on paper. The lines, or pattern, on the film being in relief, 
printing from it follows much the same principle as printing from any 
plate in relief. The ink film is placed, inked surface down, in the 
adjustable hinged frame holder, which holds it rigidly over the plate 
or copy to which the print is to be transferred. The inked surface of 
the film is forced against the surface to be shaded, with pressing tools, 
consisting of an agate stylus or rubber rollers of suitable sizes, with 
just enough pressure to make the film yield up the ink to the plate or 
copy. This transferring of the ink must be most carefully done in 
order to obtain a uniform and clean impression on the plate. Other- 
wise, the result will be a dirty-looking plate with broken lines or 
characters. 


Art Room ACCESSORIES 69 


Outline-vignette halftone, 166 line. Made from two photographs which were trimmed, mounted and slightly re- 
touched, and an air brush vignette added to the mount. 


Fig. 129. Inking the film (left) and transferring (right) the print to the plate. 


The amount of color transferred may be increased laterally or 
horizontally by a change in the adjustment or shifting device on the 
machine, which broadens or thickens the line or pattern, as additional 
prints are made. 

In the case of a large plate or drawing, the parts not being worked 
on are usually protected by a cover sheet to prevent damage. 

As the film is on a hinged holder, it may be lifted from the work 
at any time, giving the operator opportunity to see the results that 
are being obtained. When the film is replaced to continue the work, 
it registers in exactly the same position as before the examination. 

If more than one pattern of film is to be used on an illustration, 
the same process of masking, painting out, and transferring must be 
carried out for each different film. 


Square halftone, no finishing line, 175 line. Made from unretouched photograph. The gummed or dark portions 
also show the pattern, but in washing the plate before etching the gum and print on it was removed, leaving only the 
print from the shading machine film as shown in the light portions and such parts of the print from the negative as were 
covered by the gum. This is a section of the plate made for Fig. 131. 


Fig. 130. Section of shaded plate before etching. 


70 COMMERCIAL ENGRAVING AND PRINTING 


WS 


(TH 


= 


Line etching on zinc made from pen drawing. Machine shading done on plate before etching. Eleven different shad- 
ing films were used in making this subject. 


Fig. 131. A machine shaded illustration. 


Line etching on zinc made from pen drawing. This reproduction is about one-third the size of original drawing. 


Fig. 1382. The working drawing used in making Fig. 131. 


ArT Room ACCESSORIES 71 


7 


SOE Saat 
CRW eS SS NS 
Se 
i. H ~ 
: Mia 


i 


Square finish halftones, with line, 150 line. Made from the same unretouched photograph. The hand tooled effects, 
in stipple and line, were obtained by the use of the shading machine on the halftone negatives. 


Fig. 133. | Fig. 134. 
Effects obtained with the shading machine on negatives. 


After the shading has been completed, the masks are removed and 
all gum or glue is washed from the plate or copy. If the work has been 
done on a drawing, it is now ready for the process of engraving, or if 
done on a plate, it is ready for etching. The ink used for the shading 
on paper is black enough for reproduction, while that used on metal 
acts as a resist to the acid used in etching, the same as the print on 
metal that has been taken from a line negative and developed. 

The screens or films vary in size, depending upon the pattern and 
the special kind of work to which it is adapted. 

While it is to be preferred that a screen be large enough to cover 
the entire surface to which it is to be applied, that is not always possible 
and the surface is sometimes covered by moving the film from one part 
of the work to another. This requires careful handling and is more 
successful with coarser films than with finer ones. 

We herewith illustrate a number of the most used films, or screens, 
that are used with the Ben Day shading machine. Many others of these 
patterns, finer and coarser, are available, as well as numerous miscel- 
laneous patterns. Numbers GA-2 to GJ-16 are known as line tints, 
numbers GK-30I to GQ-329 as grain stipples and textures, numbers 
GR-433 to Gx-445 as hand stipples, and numbers Gy-505 to HJ-535 as 
mechanical stipples. 

Through the use of several different screens in combination, very 
pleasing effects may be obtained in pictorial work, by a skilled operator, 
and these without making the view look mechanical. 

In the straight line tints there are screens with lines as coarse as 
one-sixteenth of an inch apart down to very fine lines, running two 


Pages 65 to 80, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


42 COMMERCIAL ENGRAVING AND PRINTING 


Gc-5 GD-7 


nh 


i 


a Ui 


FON Apne 
i » co yo YIV IIIS. 


GP-327 


GR-433 GS-434 GT-437 


GU-438 GV-440 GW-444 GX-445 


GY-505 GZ-509 HA-518 HB-520 


HC-524 HD-526 . HE-527 


HG-532 HH-533 HI-534 HJ-535 


Line etching on copper, made from clippings from catalog of films; reference numbers set in type, proofs taken and 
mounted with clippings and plate made of entire page. 


Fig. 135. Some of the most used Ben Day shading machine films. 


Art Room ACCESSORIES @ 


hundred and forty to the inch. These finer lines are, of course, limited 
in their use. They are employed only in the most delicate work and, 
like fine screen halftones, are printed only on highly enameled paper. 

As line etchings are usually used on stock which is not adapted to 
fine halftone printing, a line etching with machine shading, of proper - 
texture, is easier to print than a halftone. Much fine screen work, 
however, is used for decorative purposes. 

Unless one is thoroughly familiar with the selection of the pattern 
or patterns to be used, when specifying mechanical shading, more 
satisfactory results will be obtained in the finished work if the selection 
of screen is left to the operator, with perhaps a suggestion as to what 
is preferred. It is as easy to ruin a piece of work by the selection of an 
inappropriate screen or by poor workmanship in applying it, as by 
unskillful work on the drawing proper. The style of shading for any 
particular illustration is a matter both of taste and judgment, although 
the operator should be fully informed as to the quality of paper on 
which the plate is to be printed. 

Mechanical shading is charged for on the basis of time work and it 
requires an artist skilled in this work to handle it properly. The cost 
can be estimated only by computing the artist’s time required, and 
this is effected by the detail in the illustration and the manner in which 
the shading is applied. 

Plate work or drawings requiring this class of work always carry 
an extra charge for it. 

THE GRAINING BOX 


While this might not be termed an art room accessory, since it is 
usually operated in the plate making department, yet as it has to do 
with the printing characteristics of the plate, it is proper to describe 
it here. It is used for obtaining a grain effect on the printing surface 
of line etchings, both zinc and copper, these results being similar to 


Line etching on zinc. 


Fig. 136. Shading as applied with the graining box. 


those obtained in spatter work and from certain films used in 
machine shading. It is also used to some extent in the photogravure 
and lithographic processes. 

The graining box is usually a home made affair and consists of a 
box like compartment which can be closed tight. When in use the air 


74 COMMERCIAL ENGRAVING AND PRINTING 


inside is charged with a fine dust (usually asphalt) which is agitated 
by shaking or revolving the box, or by a current of air, after which 
the dust is allowed to settle on the plate which has been placed face up 
near the bottom of the box. The parts of the surface of the plate to 
which the grain is not to be applied, are painted over with a resist 
before the plate is placed in the box. 

The texture of the grain on the plate is governed by the size of the 
particles of dust and the length of time the plate is allowed to remain 
in the box. After the plate is removed from the box it is subjected to 
an even heat causing the dust to adhere to the plate and thus act as a 
resist to retain the surfaces that are to remain in relief for printing 
while the exposed portions of the plate are being etched away. The 
processes of etching and finishing are then the same as for line etchings 
made in the usual way. 


*Fig. 150. 


ETOUCHING as applied to commercial photographs has refer- 
ence to alterations, additions and the painting over of the pho- 
tographic print to obtain better detail and effect in the repro- 

duction to be made from it. Retouching is seldom done on negatives of 
commercial subjects before the prints are made, as it is more easily 
done on the prints. 

THE NEED FOR RETOUCHING 


The conditions under which the average photographer must work 
make it impossible in most instances for him to get photographs that 
are up to the high standard required for the best halftone reproduc- 
tions, and even though the photographs are made under the most favor- 
able conditions some subjects will require retouching to give the 
reproductions the attention-getting qualities they should have. In 
fact very few photographs of commercial subjects are obtained which 
cannot be improved in detail and made more artistic and effective with 
some retouching. Some may require only the taking out of a spot here 
and there, the lining up of an angle, the bringing out of a detail in the 
shadow, the correcting of a detail or the elimination of a part, while 
others, in order to produce a halftone which will illustrate the subject 
in the best possible way, may require that the entire photograph be 
painted over. 

Some subjects, especially those of a mechanical kind, are usually 
retouched with a view to bringing out all details effectively; while 
others, such as portraits, views, etc., are often handled so as to pro- 
duce artistic and striking effects. 

Many subjects are not photographed in a way that shows the same 
difference in color value between parts as appears in the subjects them- 
selves, and this can only be corrected by retouching. 

Since “pictures tell the story,’’ anything that may be done to im- 
prove the appearance of the illustration of an article that is being sold 
through illustrated printed matter will be money well spent. Often 
only one additional sale through a good illustration will more than pay 
the cost of the best that can be produced. 


HOW RETOUCHING IS DONE 


The best class of retouching is done by skilled men with sable 
brushes and the air brush. Because of the painstaking and careful 


*Line etching on zinc from pen drawing. The shadows and tint were produced on the plate before etching with a 
shading machine. 


76 COMMERCIAL ENGRAVING AND PRINTING 


manner in which it must be done, much time is required to do the work 
properly. It is not unusual for the artist to spend several days on one 
piece of copy when the subject is a large one and there is much small 
detail. Small sable brushes are used for painting over the smaller de- 
tail, lining up angles and all minute work, while larger brushes are used 
for the larger surfaces. The air brush is used for covering all smooth 
surfaces, because it is possible to apply the color with this much more 
evenly and effectively than with the hand brushes. The retouching is 
more or less noticeable in the reproduction, and whether it is pleasing 
or objectionable depends upon the skill with which the color has been 
applied. Water color and special colors for retouching are used. They 
are obtainable in small tubes and pans, and a little is mixed at a time 
as requirements may demand. 

Copies that are to be retouched or altered should always be made 
larger than the reproductions that are to be made from them, because 
reproductions that are made the same size as the copy or larger will 
nearly always show brush marks on the painted surfaces, rough edges 
where patching has been done and possibly a dirty granular effect 
where the air brush has been used. 

The photographs should always be mounted by the artist before 
the retouching is done. A heavy, smooth-surface cardboard should be 
used which will permit the photograph to lie flat, thus giving a smooth 
surface over which to paint and permitting of better reproduction of 
the parts that may not have been painted over. The newly mounted 
photograph should be kept flat under a weight until thoroughly dry to 
prevent curling, as curled copies are more difficult to handle than flat 
ones. This mounting should be done, even though only a little re- 
touching may be necessary, because unmounted retouched photographs 
are very easily soiled or damaged in handling, and danger of this will 
be avoided if they are mounted and protected by a cover of paper 
attached to the back of the top edge. This cover may be folded back 
out of the way while the engraving is being made, and at other times 
will serve as a protection to the copy while in transit or in file. 


KIND OF PHOTOGRAPHS 


The black and white gloss prints are best for retouching, as ex- 
plained elsewhere under Commercial Photography. These prints show 
the greatest amount of detail and may be worked over more easily than 
the matte or rough-surfaced papers. Also there is less danger of the 
paint cracking and peeling off of such prints, and the color tones are 
more easily matched. When a photograph is to receive considerable 
retouching, two prints should always be furnished to the artist, one to 
be retouched and the other to be used by him to refer to for detail 
while painting over the parts of the first. This second print does not 
necessarily have to be of the same kind or size as the first. 

Photographs of subjects with much small detail to be retouched 
should be enlarged to a size governed by the detail. The size should 
be large enough even in the most minute parts to permit the retoucher 
to go over them easily with a small brush. 


Pages 65 to 80, inclusive, are printed on 25x88—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


RETOUCHING, ALTERATIONS AND GROUPING rer 


Og 151. Outlining and vignetting a photograph preparatory to making 
a vignette finish halftone. 


WHAT MAY BE RETOUCHED 


Photographs of interiors, exteriors, etc., in which it is important that 
no objectionable features obtrude can always be improved by retouch- 
ing. Extreme highlights can be eliminated, rubbish removed, tele- 
graph and telephone poles obliterated, signs taken out or added and 
various other changes made. Photographs of machinery may show 
spots due to grease, oil, roughness of castings, reflections on polished 
surfaces, etc., which should be removed. Photographs of furniture will 
require strengthening i in the grain of the wood, painting in mirrors, 
etc. Photographs of automobiles, vehicles, etc., will need to be gone 
over and improved by more clearly defining detail, strengthening lines, 
eliminating shadows and reflections or altering these for most effective 
results. 

Views showing halation from windows or burning lights may also 
be improved, if not entirely corrected, by painting in the detail that 
may have been effected or eliminated by these halations. 

Almost every subject, whether or not it requires the correction or 
improvement of detail by retouching, will also lend itself to special 
treatment, such as a vignetted ground, the addition of a border or 
other decoration, when these extras are desired, and all of which are 
usually classed as retouching. Any photograph that is to be repro- 
duced in a vignette finish halftone must have the vignette painted on 
it before beginning the making of the plate, unless the photograph is 
already finished as a vignette. 

While it is often best to eliminate undesirable backgrounds by 
blocking out the negative and making a new print when the negative 
is accessible, thus obtaining a clean ground in the print; if this is not 
possible, the new background may be painted in by hand or with 
the air brush. Although much time is required to cut a mask to 
permit the use of the air brush, which is explained elsewhere, it is prac- 
tically impossible to obtain a clean even surface, without show of brush 


*Plate at left is a square finish halftone, 150 line, no finishing line, made from the original photograph; that at right 
is square finish halftone, 150 line, no finishing line, made of the entire photograph after outlining and vignetting by the 
artist, while that in the center is an outline-vignette halftone, 150 line, of only the part within the outline-vignette. All 
plates mounted on one block, nailed top and bottom. 


78 COMMERCIAL ENGRAVING AND PRINTING 


Square finish halftone, no line, 150 line. Outline-vignette finish halftone, 150 line. 


Fig. 152. Photograph of building before and after retouching and alterations. 


marks, by any other method. Any imperfections in cutting these 
masks to fit is corrected after the air brush work has been completed 
by the use of a sable brush. When retouching a part in a group through 
the use of the air brush the background must in like manner be covered 
with the mask as well as the surrounding parts that are not to be 
affected by the spray. 


PHOTOGRAPHS OF DRAWINGS AND RETOUCHED PHOTOGRAPHS 


Photographs of wash drawings, or of retouched photographs, seldom 
reproduce as well in halftones as the originals from which they were 
made, unless they are retouched. While retaining detail such photo- 
graphs often leave the general effect somewhat flat, with considerable 
loss of color, thus when they are to be used for halftone copy they 
should be retouched so that they may have the same effective appear- 
ance and color as the original. Such copies as a rule do not require 
much time for retouching. A condition often arises requiring an altera- 


Both outline finish halftones, 150 line. 


_ Fig. 153. A good photograph before (left) and after 
(right) being slightly retouched. 


RETOUCHING, ALTERATIONS AND GROUPING 79 


Outline finish halftones, 150 line. 


Fig. 154. A good photograph before (left) and after (right) 
being retouched in a first-class manner. 


tion to be made in a piece of copy that has been produced at consider- 
able expense, it being impossible or impractical to make this change on 
the original. This can usually be best met by photographing the copy 
and altering and retouching the new photograph for reproduction. 
The loss of color values in photographing such copy is not so serious 
when the photographs are to be used for purposes other than repro- 


duction. 
In order to obtain proper color values in the reproduction of a 


Outline finish halftones, 150 line. View at left made from the original wash drawing and that at right from a 
photograph of the original drawing. 
Fig. 155. Halftone from original wash drawing and 
one from photographic copy of it. 


80 COMMERCIAL ENGRAVING AND PRINTING 


photograph that has been retouched, the colors used in retouching must 
be of the same tones as those in the original photograph. For illustra- 
tion, if a black and white print is retouched with a color running 
towards blue, the retouched parts will show lighter in the reproduction 
than they should; or if the color used is inclined towards a brownish 
black on the same kind of photograph the retouched parts are likely 
to reproduce in stronger color than they should. 


GROUPING 


The kinds of subjects which may be grouped and the ways in which 
they may be grouped are almost without limit. When the subjects are 
small and the minimum expense is sought, the usual method is to pho- 
tograph them together and the reproduction is made direct from the 
photograph with or without retouching, as conditions warrant. 

In grouping subjects that have already been photographed sepa- 
rately, or that are so large as to require separate photographs, the 


Square finish halftone, no line, 150 line. White line tooled between views. Photographs were trimmed, squared and 
mounted on one card in positions shown. 


Fig. 156. A plain group. 


grouping is done by combining the separate photographs through 
mounting them together on a card to conform with the artist’s taste, 
or to the requirement of conditions. When the photographs are of uni- 
form size, or of sizes giving the uniformity wanted in the group, the 
mounted prints are unmounted and all are trimmed so as to eliminate 
all margins or backgrounds that are not to appear in the group. These 
trimmed and unmounted photographs are then mounted in their re- 
spective places in a layout that has been previously made for the group. 

Where the photographs to be grouped are not uniform in size, it 1s 
customary to mount in the group such of those as are uniform and can 
be used together, leaving blank spaces in the design for the insertion 
of the odd-sized views. The latter are brought to proper size either by 
re-photographing and mounting the new prints in the group, or by the 
engraver making separate negatives of them, reducing or enlarging 
the odd sizes to the degree necessary to fit the spaces provided, and 
stripping the extra negatives into the negative of the group. Either 
method involves additional expense. Sometimes one and again the 
other is the less expensive. Usually better reproductions are obtained 
if the engraver strips in the negatives from the odd sized copies, be- 


a. 
as 


RETOUCHING, ALTERATIONS AND GROUPING 81 


_ Square-outline finish halftone, 150 line, no line. Photographs were trimmed, squared and mounted on one card in 
positions as shown. 


Fig. 157. A plain group with corners lapping. 


Square finish halftone, 150 line, with plain gray border. Photographs were trimmed, squared and mounted as shown 
on a plain gray card with sufficient margins to permit leaving the gray border when trimming the plate. White line tooled 
around view at right. 


Fig. 158. Group with plain gray border. 


Square finish halftone, 150 line, with two-tone plain gray border. Photographs were trimmed, squared and mounted 
as shown, first on a medium dark gray sheet. This was mounted on a light gray sheet leaving margins as shown and that 
on a dark gray card. White lines tooled around views. 


Fig. 159. Group with border and background in gray tones. 


82 COMMERCIAL ENGRAVING AND PRINTING 


Square finish halftone, 150 line, no line. Made from the photographs as received from the customer, except that they 
were temporarily mounted on a large light gray card from which to make this plate. 


Fig. 160. A miscellaneous lot of photographs to be grouped. 


cause in re-photographing and making new prints there is always some 
loss in sharpness. In grouping many articles, such as packages, bottles, 
etc., to obtain uniformity in position of label it is necessary to photo- 
graph the articles separately, cut out the photographs and group the 
prints, instead of grouping the articles and photographing them all on 
one plate. Such subjects are best illustrated by photographing them 
almost straight on and showing a slight top view. 

Views that may be trimmed to rectangular, round or oval shapes, 
or articles that are simple in outline may be easily stripped in, but sub- 


Square finish halftones, 150 line, no line. The photographs shown in Fig. 160 were removed from their original 
mounts, trimmed and squared, and then zrouped and mounted on a gray card to which the decorations as shown were 
added. To obtain uniform size in the views, separate halftone negatives were made of the odd size photographs and these 
were stripped into the open spaces left in the design as shown in the illustration at left. The complete group is shown at 
right. White lines tooled around views and the blank panels were routed out in view at left. 


Fig. 161. Group made from photographs shown in Fig. 160. 


RETOUCHING, ALTERATIONS AND GROUPING 83 


Outline finish halftone, 150 line. Photographs were trimmed and mounted on a plain gray mount on which the 
decorations were drawn. The white border lines were tooled in the plate. 


Fig. 162. Decorative and outlined group. 


jects with irregular or complicated outlines must be re-photographed 
and the new photographs must be mounted in the group, since it would 
be impossible to strip them properly into their respective places be- 
cause of the difficulty in cutting and handling the negative film. 

If separate photographs of a number of subjects are to be grouped 
to be reproduced in a square finish halftone, and it is desired that they 
be shown on a plain light background, the first step is to trim the back- 
grounds from the original subjects. If they are simple in outline, after 
being carefully trimmed, they may be grouped, mounted and retouched 
as necessary, and the group is then ready for reproduction. However 
if the subjects are difficult to outline, or if it is necessary to paint in 
additions to any of the subjects, it may be best to first roughly cut 


Halftone and line copper combination plate, 150 line. Pen drawing of the border design was first made. From this 
a line negative was made into which halftone negatives of the photographs were stripped, except view “A” which was 
made as a separate halftone and nailed in its place on the wood base. Note that wide spaces must be provided for nailing, 
while only a very thin space between border and subject is necessary for stripping. 


Fig. 163. Combination of photographs and line decorative design. 


84 COMMERCIAL ENGRAVING AND PRINTING 


away the backgrounds from the original subjects, group them care- 
fully and then make a photograph of the group. If the negative is 
opaqued before the print is made the print will require the minimum 
amount of retouching to paint out the edges of the cut-out prints that 
may show and to make such additions as may be necessary to com- 
plete the copy. 

GROUPS OF PARTS 


Unless the number of parts to be shown in a group are few and the 
outlines of these are simple, the first step in procuring such an illustra- 
tion is to obtain a good photograph, and by following the suggestions 
given elsewhere under Commercial Photography this will not be a difh- 
cult matter. If the pieces are large and it 1s necessary to make separate 
photographs, afterwards trimming and mounting these together in one 
group, care should be exercised in making all views at the same focus 
so that all parts will be of proportionate size when grouped together. 
If only a few subjects are to be illustrated and these are extremely 
simple in character, they may be drawn in pen and ink and reproduced 
in line etchings at less than the cost would be for halftones from photo- 
graphs. 

When parts in the photograph are small and any considerable re- 
touching is required, it is advisable to make an enlargment from the 
blocked out negative to obtain detail of a size that will enable the re- 
toucher to handle the work easily. The accompanying illustrations, 
Fig. 164 to Fig. 169, show several methods of handling such groups and 
there are numerous other ways in which they may be made up. The 
treatment of the background, the amount of retouching, the method of 
numbering or lettering the different parts, as well as the style of finish 
of the plate to be made, may all be modified to accommodate conditions 
or the wish of the customer. The halftone for Fig. 164 was made from 
an unretouched photograph, the negative not being opaqued. The 
numbers were drawn in free hand on the photograph. That-tor bigs 
165 the same except that negative was opaqued before making the 
photographic print; that for Fig. 166 same as for Fig. 164 except that 
numbers were set in type and after spacing and mounting to fit the 
photograph, a line negative was made of the group of figures which 
was double printed with the halftone negative. Plate for Fig. 167 
same as Fig. 166, except that a photograph slightly retouched from 
opaqued negative was used. The same retouched photograph was used 
for Fig. 168 as for Fig. 167, a line negative of the numbers and border 
being combined with the halftone negative of the parts by stripping 
and the background eliminated by etching and routing. A pen drawing 
over silver print was made for copy for Fig. 169, and proofs from type 
of the numbers were pasted in their respective places on the drawing. 

An alteration or substitution in the photograph of a group of parts 
may be accomplished by photographing the new part in size propor- 
tionate with those in the group, trimming out the part and patching 
it in on the original photograph. If the group has been reproduced 
in a square finish halftone, it will of course be necessary to make a new 
plate of the entire group. If however, the reproduction has been made 


Pages 81 to 96, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


RETOUCHING, ALTERATIONS AND GROUPING 85 


Square finish halftone, 150 line, no line. Square finish halftone, 150 line, no line. 


Fig. 164. | Fig. 165. 


Double print square finish halftone, 150 line, no line. Double print square finish halftone, 150 line, no line. 


Fig. 166. Fig. 167. 


Outline halftone and line copper combination plate. Line etching on zinc from pen drawing. 
Fig. 168. Fig. 169. 
Different methods of illustrating parts. 


86 COMMERCIAL ENGRAVING AND PRINTING 


‘nan outline finish halftone, or a line etching from pen drawing, the new 
part may be photographed or drawn, a separate plate made of it and 
the new plate tacked in its proper place on the block with the remaining 
group after the old part has been removed. 


OVERLAYS 


The principal part or base of a machine or other subject, is fre- 
quently used with changes of equipment or parts, each change pro- 
ducing a machine or subject that differs from the other only in one or 
two details. As considerable retouching is usually required on such 
subjects, especially machines, it is very often more economical to show 


a 


be 


Outline finish halftones, 150 line, made from wash drawings. The view at left is the original subject, while those at 


the right are drawings to overlay the left end of the original to illustrate other models of this pulley. 


Fig. 170. An original drawing and overlays. 


Lo eee eo 


eccasinsntrenn eS rose 


Outline finish halftones, 150 line, made from wash drawings. In completing these halftones for customers’ use, the 
hinge and extension would of course be tooled and routed off the plate to the outline of the illustration. 


Fig. 171. Overlays attached ready for reproduction. 


these changes through the use of an ‘‘overlay”’ instead of a complete 
retouched copy for each change. 

An overlay is a portion of a photograph or drawing cut out and in- 
tended to be “laid over’? a part of another photograph, while the 
negative for the halftone plate is being made, to show an addition or 
change in the original. Such an overlay is of course retouched as care- 
fully as the original with which it is to be used, and usually it is at- 
tached to the original in such a way that it can be folded over in 
position and used, or folded back out of the way when the original is 
to be used without it. However, where such copies are to be used fre- 
quently, it is advisable, instead of depending upon overlays, to make 
copies of the retouched photographs, paint on the changes and retouch 
the copies complete. This will avoid chance of loss of the overlays, 
also the possibility of improper placing and the use of incorrect over- 
lays by the engraver when making the halftones. 


RETOUCHING, ALTERATIONS AND GROUPING 87 


In Figs. 170 and 171 one drawing of pulley and drawings of two 
overlays were used for illustrating three different models of the same 
pulley. The drawing was first made of one pulley complete and then 
two additional drawings showing end views only were made. The 
latter were trimmed so that they might be tipped on to the original 
drawing in position to show the changes required. 

Copies in which changes are made by this plan must be of such a 
nature as to provide lines that are not complicated where overlay 
patches may be joined to the main copy. It would be impractical to 
outline a large amount of small detail when fitting on an overlay. 

Such subjects as kitchen ranges, in which one base is used for several 
styles, using a low back, high closet, tanks, shelves, etc.; a series of 
ornamental fence illustrations in which the top rail, posts and orna- 
mentations remain the same, but fabrics are different for different 
styles; automobiles in which the same style of body is used with change 
in tops; and many other subjects, are susceptible of being handled 
practically in this way. It is usually well however, when the use of 
overlays is contemplated, to make separate photographs showing the 
subjects complete in each of the different ways in which they are to 
be illustrated. Then if it is found impractical to use overlays, complete 
photographs will be at hand for retouching; and on the other hand, if 
overlays are used, the photographs of the subjects complete will clearly 
illustrate to the artist just what is required for overlays, their propor- 
tionate size, etc. 

ADDING TO BACKGROUNDS 


To carry out a special background idea showing a continuous tone 
without patched lines, it is sometimes necessary to obtain additional 
background for the copy in hand in order that the decoration, letter- 
ing, or other matter for the new design may be added. This additional 
background may be obtained by making a photograph of the original 
copy and printing from the new negative on a sheet of paper large 
enough to receive the remainder of the design. By this method there 
will be no patched lines showing at the edge of the original copy, the 
surface of the new sheet being continuous and large enough to give 
room for the new design in its entirety. By retouching the edges and 
adding to the photographic print of the original drawing, the new copy 
can be made up in much less time than would be necessary to make a 
new drawing in order to get it on the proper kind of background. 

When a large copy is required for reproduction of a subject for 
which smaller copy has been prepared, a photographic negative of the 
small copy may be made and from this a bromide enlargement which 
can be retouched as necessary for the large reproduction. 


COMBINING PHOTOGRAPHS AND DRAWINGS 


In illustrating the application of an article, it is often necessary to 
photograph the setting and draw in on the photograph the main ob- 
ject of the illustration, or photograph the main object and draw in the 
setting, whichever may be necessary to bring out effectively the idea 
being illustrated. For example, see Fig. 172 showing a lawn fence in 
front of a residence. The idea here is to illustrate the fence to the best 


88 COMMERCIAL ENGRAVING AND PRINTING 


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Square finish halftone, 150 line. 
Fig. 172. Drawing combined with photograph. 


advantage, and because of the small detail in the actual fence it is 
necessary to show it with some exaggeration. This illustration was 
made by first making the photograph of the residence, which had no 
fence in front of it. A pen drawing was made of the fence on a separate 
sheet, from which a negative was made, and this was combined with 
the negative of the residence. From the combined negative a print 
was made, which was retouched, and from this the halftone was made. 


Vignette finish halftone, 150 line. 
Fig. 173. Specially posed photographs to which a wash drawing was added. 


RETOUCHING, ALTERATIONS AND GROUPING 89 


The halftone for Fig. 173 was made from a combination of photo- 
graphs and a wash drawing. Three photographs were made of the 
little girl in poses as shown and these were trimmed and mounted on 
a large sheet of drawing board in the positions as shown, after which 
the closets were drawn in to show the operation of the special hinge. 

The limit of possibilities in making such combinations is reached 
only by the ability of the artist who does the grouping. The addition 
of backgrounds to photographs for commercial purposes is a very 
common practice. While some of these backgrounds are photographic, 
most of them are drawn, in order better to bring out effectively the 
illustrations of the main subjects. 

Very natural effects can often be obtained by combining two photo- 
graphs. This is done by selecting the photograph that is to serve as 
the general view or background and then selecting the photographs 


Outline finish halftones, 150 line. 
Fig. 174. Fig. 175. 
Cut-out photographs mounted over others. 


that are to be added to it, trimming the latter out and mounting them 
carefully in such positions as they might appear naturally. To make 
such illustrations most effective, care, of course, must be exercised in 
the selection of subjects and in getting proportionate sizes, proper 
perspective of the different views, etc. 

The following will in a way illustrate the extent to which patching 
may be resorted to: A manufacturer furnished a Cirkut photograph 
showing a group of several hundred employees in front of his factory. 
As this photograph represented only the day force, and it was imprac- 
ticable to photograph the night shift of approximately an equal number 
of employees, a second print was made from the first negative and the 
two prints were used in making a new picture showing the number of 
employees practically doubled. While the same photographs of per- 
sons were used, they were so expertly handled in trimming out and 
mounting that it required very close inspection to detect any duplica- 
tion. The effect was photographic and immeasurably better than 
that which would have been obtained had the figures been painted in; 
and the cost was much less than it would have been for a drawing. 


90) COMMERCIAL ENGRAVING AND PRINTING 


RETOUCHING PORTRAITS 


The work of retouching photographic portraits is usually done on 
the negative before the prints are made. It is impractical to retouch 
portrait prints, since the work would not be permanent and in course 
of time would become damaged through handling. Further, the 
expense of any retouching of consequence would be prohibitive on 
quantity orders. The retouching of faces in portraits is usually not 
attempted by the commercial artist except for minor defects. There 
are but few portrait artists who are competent to retouch the face and 
retain the likeness of the individual whose portrait it is. Changes in 
the arrangement of the clothing, treatment of the background and the 
removal of spots and slight defects are frequently made by commer- 
cial artists, but any attempt to change the features or expression 
usually results in disappointment. 


SQUARE FINISHED HALFTONES FROM OVAL PHOTOGRAPHS 


As halftones in square finish are less expensive than oval finish, 
this style is more frequently ordered than the latter. Many times a 
photograph that has been ovalled is sent to the engraver with instruc- 
tions to reproduce it in a square finish halftone. This cannot be done, 
if the head is near the top of the oval and the face is large, without 
going to extra expense in the way of providing a new background, 
unless the halftone is made from the photograph as sent, permitting 
the mount to show in the corners of the plate, which would consid- 
erably mar the appearance as indicated by the cut off marks in Fig. 178. 

If the new plate is to be made square finish to harmonize with 
similar plates with which it is to be used, the photograph may be 
dealt with by removing it from the mount, trimming away the back- 
ground and mounting the trimmed print on a new background of 
proper size. The background may be air brushed or painted, if 
necessary, to bring out the portrait more effectively, or to match 
other plates with which it is to be used. 

An oval opening may be cut in a plain sheet slightly smaller than 
the oval photograph and this sheet placed over the photograph while 
the halftone is being made, allowing the portrait to show through the 
opening. This permits the making of a square finish halftone with the 
portrait proper appearing as an oval surrounded by a plain back- 
ground to make it rectangular. 

When the photographic print is oval and untrimmed,as in Fig. 177, 
the corners may be painted in as shown in Fig. 180 to make a rectangle, 
but a photograph that has been trimmed oval and mounted cannot 
have the corners painted in successfully because the edge of the paper 
on which the print has been made will show through the paint as 
shown in Fig. 184. 

In the accompanying illustrations is shown in Fig. 176 an oval 
photograph from which it is possible to make a square finish half- 
tone as shown in Fig. 179 without special preparation of copy. It will 
be noticed that there is ample room above the head for trimming so 
that a rectangle may be obtained without cutting off any of the 


RETOUCHING, ALTERATIONS AND GROUPING 91 


Fig. 176. Fig. 177. Fig. 178. 
The three types of oval photographs offered for reproduction. 


Fig. 182. Fig. 183. Fig. 184. 


All halftones on this page are square finish, 150 line, no line, except Fig. 182, which is square finish, with line and 
background routed out. 


9? COMMERCIAL ENGRAVING AND PRINTING 


essential parts of the picture, and this can be enlarged or reduced to 
the size required. Fig. 178 illustrates an oval portrait that has been 
trimmed so as to make it impossible to make a square finish halftone 
without special treatment of the background. Fig. 181 shows how 
this may be overcome by using the mask, while Fig. 183 shows the 
effect obtained by trimming out the photograph and mounting it on 
a new background so as to obtain the square finish. The background 
may also be eliminated entirely leaving a border line as in Fig. 182 and 
the border may be omitted if an outline plate is desired. 

It is usually unsatisfactory to attempt to trim and mount down 
on new background subjects in which the outline is not clearly defined. 
It would also be difficult to make use of a photograph that has been 
printed on thick heavy paper, because of the shadow thrown by the 
edges of the paper, unless considerable time is spent in reducing the 
thickness of the paper by sandpapering before mounting. 


MAKING HALFTONE OF ONLY ONE PERSON FROM A GROUP 


It is possible to make a halftone reproduction of one person only 
from a group by painting out persons on either side, using a color that 
blends with the background; or if an outline halftone of a single figure 
is sought, this can be frequently obtained by simply cutting away the 
undesired parts after the reproduction has been made. Where the 
shoulders of other persons on either side would show on the part that 
is to be reproduced they should first be painted out. The painting 
out of the background or tooling and routing it out will add to the 
expense of the plate. The paint used in retouching can be easily 
removed after the reproduction has been made, by using a moist tuft 
of cotton, and usually with no damage to the photograph. 


PATCHING AND FAKING 


The results that may be produced by special posing and patching 
photographs together to obtain “‘faked’’ views, are limited only by 
the ingenuity of the operator. This applies to both the legitimate 
and ridiculous. It is practical, when necessary, to add to the subject a 
face, a part, a duplicate, a background, or some feature that can be 
photographed to better advantage than it can be drawn; while a 
“freak”? combination can often be utilized to attract attention or to 
drive home a point. In producing such a subject the layout should 
first be carefully planned, and then the photographs of the different 
views made to conform exactly to the layout in posing, distance, 
perspective, position of camera, etc. The prints should be made on 
thin paper, uniform in color, and when carefully trimmed or cut out 
and properly mounted, an effect is obtained, which, when reproduced, 
often cannot be distinguished from a view made complete in one pho- 
tograph at a single exposure. 

In Fig. 190 is shown parts of two photographs of which a repro- 
duction was wanted in which the portrait at the right would appear 
etherealized and the one at the left in the usual way, all to be in one 


Pages 81 to 96, inclusive, are printed on 25x388—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


RETOUCHING, ALTERATIONS AND GROUPING 93 


_ Square finish halftones, with line, 150 line. The background was routed out of the plate in view at right in Fig. 185, 
while that at right in Fig. 186 was painted in and the figure retouched on the photograph before the plate was made. 


Fig. 185. Fig. 186. 
Eliminating objectionable backgrounds and figures. 


REE 


Square finish halftone, no line, 150 line. The upper and lower views were made in separate halftone negatives and 
stripped together. The several photographs as patched together in the upper view were made from the same point of 
view, trimmed and mounted as shown. A photograph copy was made of the patched group and this retouched from which 
the lower view was made. 


Fig. 187. A patched and retouched view. 


04, COMMERCIAL ENGRAVING AND PRINTING 


illustration without a dividing line showing between the views. A 
photograph negative was first made of the portrait at the right and 
from this a dim print with wide margin at left. This was retouched to 
eliminate the dark background, the hand at the side of the face and the 
dark clothing. Then on this photograph was mounted the other por- 
trait—all background from this photograph having been trimmed 
away leaving only the cut-out portrait to be mounted. A photograph 
was then made of the new group and this photograph slightly retouched 
before the halftone was made from it as shown in Fig. 191. 


Fig. 188 is a square-outline finish halftone, 150 line. Made from unretouched photographs placed as shown. Fig. 
189 is a square finish halftone, 150 line, no line. The sheep from the upper photograph in Fig. 188 were cut out and mounted 
in the foreground of the other photograph and the combined view slightly retouched from which plate for Fig. 189 was 
made. 


Fig. 188. Photographs to be combined. Fig. 189. The combined view. 


Square finish halftones, 150 line, no line. Separate negatives were made of the portraits in Fig. 190 and the two 


stripped together, 
Fig. 190. Fig. 191. 
A group made by rephotographing, patching and retouching. 


RETOUCHING, ALTERATIONS AND GROUPING 95 


Se, 


j 
| 
: 
2 


Square finish halftone, 150 line, no line. 


Fig. 192. A patched and retouched group. 


Fig. 192 was made from a patched and retouched photograph. 
The same person was photographed in the four different poses shown 
and the photographic prints were carefully cut out and mounted in 
the cleverly conceived arrangement which was planned before the 
photographs were made. A figured paper was used on which to mount 
the cut-out photographs and the shadows on the floor were added with 


an air brush. 


96 COMMERCIAL ENGRAVING AND PRINTING 


MAKING INSERTS IN GROUP PHOTOGRAPHS 


In making a photograph of a group of persons, say an organization 
of some kind, it is often impossible to have all of the individuals present 
who should be in the photograph when it is made. In such cases it is 
possible to leave a space in the group where the missing individual 
or individuals would be if present, then make separate photographs 
of these at a later time, taking care to pose them in such a way that 
the position, size of features, etc., will be uniform with the others in 
the group. These individual photographs can then be carefully cut 


Square finish halftone, 150 line, no line. Halftone negative was made of the original photograph for lower view and 
after patching another was made of the upper view and these two negatives stripped together. Screen routed from panei 
in upper view. 


Fig. 193. Figures moved from one part of a group to another. 


and ingeniously mounted on the group photograph in such a way as 
not to show the patching in the halftone made from it. 

In mounting these individual photographs down on another print, 
it is well to bevel the edges on the under side as much as practicable 
so that there will be as little as possible of relief which might cause a 
shadow from the operating lamps when the halftone negative is being 
made. Or the patch may be made by trimming the individual photo- 
graph exactly as wanted, placing it upon the group photograph and 
tracing the outline with a sharp pointed knife. The part of the large 
print corresponding to the patched-in portion is then lifted out and 
the trimmed portrait of part dropped down into the opening. This 
brings the surfaces flush and if the job has been neatly done a little 
retouching and paint worked into the crack of the outline will oblit- 
erate all evidences of a patch having been made. 

In Fig. 193 is shown in the lower view a part of a Cirkut photograph, 
in which it was found necessary to provide a panel as shown in the 


RETOUCHING, ALTERATIONS AND GROUPING 97 


upper view. To avoid the omission of any of the persons in the group, 
the photographs of those to be eliminated by the panel were cut from 
the photograph, trimmed and mounted in suitable locations on other 
parts of the photograph, some of whom are shown in the part repro- 
duced in the upper view. 


GROUPING PORTRAITS 


The different arrangements and designs that may be utilized in 
grouping are practically unlimited and the attractiveness and design 
depend entirely upon the ability of the artist and the appropriation 
allowed for the work. There is always an extra charge for this special 
work in addition to the charge for the plate. 

Of course the least expensive method of obtaining a group is to 
have photograph of the persons made all in one group, the posing of 


Spates 


Square finish halftone, 150 line, no line. Made from unretouched photograph. In posing the subject mirrors were 
so placed as to show the several positions from the same point of view. The background around the heads in the negative 
was etched to produce the plain background in the print from which the halftone was made. 


Fig. 194. A novelty group of same person. 


the subjects being determined somewhat on the number in the group 
and the purpose it is to be used for. 

Although the photograph may show the figures full length, usually 
nothing is gained by full length reproduction and generally something 
is saved by trimming the photograph so as to show only bust views 
of the people. This does not reduce the size of the picture from left 
to right, thus faces will be just the same size as if the entire photograph 
were reproduced, and it is the faces usually that are the essential part 
of the picture. 

When there is a large number of persons in the group, they are 
usually arranged in rows so as to give an unobstructed view of the 
faces in each row, the group being posed by seating the first row on 
low benches or the floor, with the next row seated in chairs, the next 
standing, and other rows, if necessary, standing on benches, etc. 

The photographs reproduced in Fig. 196 and Fig. 197 were trimmed 
to eliminate unnecessary background at sides and tops and at bottoms 


98 COMMERCIAL ENGRAVING AND PRINTING 


ae : 
MAG Wns 
Ben hits oe 


Square finish halftone, 150 line, no line. Made from an unretouched photograph. 


Fig. 195. From photograph of a large assembly. 


to obtain bust portraits of the persons in the front rows, after which 
they were mounted on light gray cards from which they were repro- 
duced. In finishing Fig. 196 the plate was trimmed to allow a part of 
the gray background to remain as a border. The same method was 
followed in finishing Fig. 197, except that an extra white line was 
tooled in the border. In Fig. 198 the full figures of the persons as pho- 
tographed were reproduced in the halftone. To obtain the black double 


Square halftone, 150 line, light gray border. White line tooled between border and picture. 


Fig. 196. Group posed in three rows. 


RETOUCHING, ALTERATIONS AND GROUPING 99 


A 8 | 


Square finish halftone, 150 line, light gray border. White line tooled in border and between border and picture. 


Fig. 197. Group posed in two rows. 


line border on this subject the halftone negative was trimmed to proper 
size and they were cut with a tool in the surface of the unetched metal 
as explained elsewhere under Halftones. This border also could have 
been produced, but at greater expense, by making a combination half- 
tone and line etching on copper. 

When reproducing a Cirkut view requiring a large reduction from 
left to right, it may often be reproduced in sections and these sections 
placed one above the other as in Fig. t99. The photograph should be 


Square finish halftone, 150 line, black double line border. 
Fig. 198. Group posed in four rows. 


100 COMMERCIAL ENGRAVING AND PRINTING 


_ Square finish halftone, 150 line, no line, white line tooled between views, which were made in separate negatives and 
stripped together. 


Fig. 199. A Cirkut view reproduced in two sections. 


divided into sections of equal length, that the faces in the reproduction 
will remain uniform in size. To prevent cutting through figures at the 
ends of sections, the ends of one section may be so painted out and 
retouched as to show properly the persons at the extreme ends. Then 
after the halftone negative has been made of that section the paint is 
removed and the next section prepared in the same manner as Porrene 
first and halftone negative made of this and so on until all sections 
have been reproduced. In painting between sections to obtain the line 
of separation, if it is necessary to paint out one or more faces, they will 
be included in preparing the adjoining section, so that when all sections 
are reproduced they will include all persons shown in the original photo- 


Square finish halftone, 150 line, gray border, background routed out. Made from two unretouched photographs 
mounted on gray card. 


Fig. 200. From symbolic group photographs. 


RETOUCHING, ALTERATIONS AND GROUPING 101 


Square finish halftone, 150 line, no line. The portraits were ovaled out from separate square photographs and 
mounted on a plain light gray card. The border and decorations were drawn on the card with white ink and the white 
lines were tooled around the ovals after the halftone was made. 


Fig. 202. Separate photographs grouped. 


Outline finish halftone, 150 line, with irregular medium gray border. The individual photographs were trimmed of 
all background, and then mounted on a light plain gray background, overlapping the photographs to give the crowded 
appearance. Numbers were added with pen and ink, using white ink on the dark backgrounds and black ink on the light 
backgrounds. Border was painted on the copy and the white line between it and group was drawn in. 


Fig. 203. Numbered group of “‘cut-out” photographs. 


102 COMMERCIAL ENGRAVING AND PRINTING 


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HORE POTS 


OFFICERS ELECTED 
BETWEEN Nov. 1.1913 & Nov. 1.1916 


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KVAN SMILES JORG: 


OPT SCHROLE ¥L. MOGGE 
PEGE WAKE POFas SEE $k Oe RS 


PAUL M. TAYEOIE 
HUSTINGTGN TE1e 


Square finish halftone, 150 line, no line. The separate photographs of the portraits were trimmed to ovals of uniform 
size and mounted on a white card. The names, addresses and title lines were drawn on the card with pen and ink. 


Fig. 204. Group with names and titles. 


graph, although it might have been necessary to paint out several of 
them to reproduce the several sections without cutting through these 
figures. The sections may be stripped together as in Fig. 199, or they 
may be blocked separately. The more sections into which the original 
is divided, the larger the faces in the reproduction, and the height over 
all of the reproduction will be increased accordingly. 

Photographs are often made of groups in which the persons have 
been so placed, or so dressed and placed, as to produce symbolic designs 


Vignette finish halftone, 150 line. Photograph of portrait was mounted over that of car and background. Back- 
ground around portrait routed out. 


Fig. 205. Subject in which another has been inserted. 


Pages 97 to 112, inclusive, are printed on 25x88—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


RETOUCHING, ALTERATIONS AND GROUPING 103 


Square finish halftone, 150 line, no line. Photographs were trimmed to ovals and mounted on a medium gray card. 
The entire card is reproduced in the view at right, while all unnecessary background has been cut away from that at the 
right and the panel has been routed out. 


Fig. 206. Fig. 207. 
Group arranged for a border. 


such as letters of the alphabet, numbers, emblems, the flag, etc., as 
shown in Fig. 200. 

In making insert as shown in Fig. 205 it is often necessary to make 
a separate negative of the insert and strip it in to obtain proper size 
for it, instead of mounting the insert over the main subject and making 
the plate in one operation as was done in making the plate for Fig. 205. 


Square finish halftones, 150 line, no line. Photographs were trimmed and mounted and the designs added to the 
mounts in making the originals. Both illustrations made from halftone prints, 133 line, and reduced about one-half. 


Fig. 208. Fig. 209. 
Symbolic group designs. 


104 COMMERCIAL ENGRAVING AND PRINTING 


Square-outline halftone, 150 line. Made from unretouched photographs placed together as shown. White line tooled 
between subjects, and in X above subject’s head. 


Fig. 210. Three portraits to be grouped in a panel. 


Square finish halftone, 150 line, no line. Photograph as shown at left in Fig. 210 was trimmed to an oval and mounted 
on a medium gray card. The decorations were drawn on the card and oval spaces painted in indicating spaces for 
the remaining portraits. 


Fig. 211. The panel with one subject mounted in its place. 


Square finish halftone, 150 line, no line. Same copy asin Fig. 211, with halftone negatives made of the other two per- 
sons in Fig. 210 stripped in their respective places in the group. The curtain over the right shoulder of the man in the 
group was painted out and the subject enlarged when making the halftone negative, while in making the negative of the 
man at the right it was necessary to reduce the size in order that all faces might be of uniform size in the new group. 
White line tooled around the ovals. 


Fig. 212. The completed panel. 


RETOUCHING, ALTERATIONS AND GROUPING 105 


It is, of course, advisable and customary, but not always necessary, 
for the artist to leave additional margins or background beyond the 
trimming line on all groups and as shown in Fig. 206. These extra 
margins protect the edges of the design proper from damage incident 
to handling and a broken corner or torn edge would more or less mar 
the reproduction. 

THE USE OF MASKS 


In making a series of panels in which the same background is to be 
used, or when a series of background designs are to be used in rotation, 
the time required for doing the art work on the background will be 
reduced considerably by the use of a series of masks. The photo- 
graphs are mounted on cardboard in groups, so spaced that the faces 
will appear in correct position in oval or other shaped openings, that 
may be cut in the mask which is placed over the photographs, allowing 
the faces to show while the halftone negative is being made. In making 


Square finish halftones, 150 line, no line. The untrimmed photographs were mounted as in Fig. 213 so that the faces 
would appear in proper position when placed under mask, Fig. 214, and as shown in Fig. 215. The mask as shown in Fig. 
214 was made of light weight medium gray cover paper on which the black and white decorations were drawn. Oval 
openings were cut in the mask to permit the photographs to show through as in Fig. 215, when it was placed over Fig. 213. 
Screen was routed out of ovals in Fig. 214. 


Fig. 213. Fig. 214. Fig. 215. 
Method of using panel mask. 


106 CoMMERCIAL ENGRAVING AND PRINTING 


Square finish halftone, 150 line, no line. Made from halftone print. 


Fig. 216. From patched and retouched photographs. 


masks it is necessary to use thin paper, usually a medium weight cover 
stock. If a thick card is used for the mask there will be shadows 
around the edges of the openings when the group is photographed, and 
these will of course show in the halftone. Sufficient space should 
also be left between the openings in the mask to allow for a possible 
slight displacement of the mask in making the negative without show- 
ing lines or rough edges on the group underneath, and to keep the mask 
from tearing while being handled. When this method of making 
eroups is used a series of at least four masks should be made, even 
though they are all alike. 


_ Fig..219 is an outline finish halftone, 150 line. Fig. 218 is a combination outline halftone, 150 line on copper and a 
line etching on zinc. 
Fig. 217. Fig. 218. 


Caricatures made by combining photographs and drawings. 


RETOUCHING, ALTERATIONS AND GROUPING 107 


FREAK PICTURES AND CARICATURES 


Under this head may be grouped such subjects as large heads on 
miniature bodies, men riding their ‘“hobbies,”’ pictures of objects that 
appear entirely out of proportion with other objects, etc. Such pictures 
are usually only clever combinations of ordinary photographs cut out 
and arranged together in such a way as to conceal the patching. 

In Fig. 216 the illustrations were made by cutting out the heads 
from photographs of adults and mounting them on the photographs of 
infants. In Fig. 217 the face was cut from a photograph and the body 
made in wash drawing. In Fig. 218 the head was cut from photograph, 


Outline finish halftone, 150 line. Made from slightly retouched photograph. 


Fig. 219. Cover and tissue fly for retouched copies and drawings. 


the cap added by drawing in wash and the body then made in pen 
drawing. In making the plate from the last named subject it was 
necessary to make a halftone and a line etching on zinc, mounting the 
two in combination as shown. 


CHANGING PROPORTIONS 


While proportions may be changed slightly by tipping the copy 
forward or backward or from left to right or vice versa, when making 
the negative for the halftone this method is impractical because dis- 
tortion is likely to result. Photographic views or drawings, however, 
which by trimming of background cannot be brought to proper pro- 
portions may usually be dealt with by making a photographic print on 
paper with sufficient margin to permit of painting in increased height 
or width to background as may be necessary to get the new proportions. 


TISSUE OVERLAYS TO INDICATE CHANGES 


In giving instructions to the engraver or artist for making changes, 
additions, etc., on photographs, mistakes will often be avoided and 
time saved if a sheet of transparent paper is placed over the print, 


108 CoMMERCIAL ENGRAVING AND PRINTING 


and upon which the changes to be made are indicated with soft pencil. 
The engraver will in turn, when submitting the retouched copy for 
approval, supply a tissue cover on which may be indicated errors in 
the retouching or additional work to be done. The transparent over- 
lay may also be made use of to indicate the area of the photograph that 
is to be included in the plate. With this as a guide the artist's work 
will be confined to the part to be reproduced and by the elimination 
of the unimportant background, greater prominence can usually be 
given the really important part of the photograph by showing it in 
larger size and to better advantage. The more that is trimmed from 
the margins the larger the detail in the part remaining will come in 
the reproduction for a given space. The rectangle drawn on the tissue 
indicating the area to be included may also be made use of for deter- 
mining the proportion and size to which the photograph is to be 
reduced in the reproduction. 


SPECIALISTS 


Photographs of pure bred live stock such as horses, cattle, hogs, 
sheep, poultry and pet stock, can be best retouched by specialists who 
are familiar with the fine points of live stock, there being men who 
excel in drawing or retouching one kind of breed, another a different 
kind, etc. This kind of retouching is of the order of portrait work, 
the best of it being done by specialists. 


ESTIMATING THE COST 


It is the rule among engravers to do no retouching on photographs 
sent to them for plates unless so ordered by the customer. 

Newspapers almost invariably do a small amount of retouching 
on photographs furnished them, to obtain the strong contrast and 
definite outlines before making their plates. 

The amount of retouching necessary on a photograph that it may 
reproduce best in halftone depends on the photograph and the char- 
acter of the subject. As the charges for retouching are based upon 
the amount of the artist’s time required for each particular job, it is 
evident that the commercial artist or engraver can make an estimate 
only when photographs are submitted and when he knows the purpose 
for which the plate is wanted, whether, for instance, in a catalog along 
with other high-class illustrations or in a medium requiring less expen- 
sive work. 

The time of the artist is charged for at a certain rate per hour, 
depending upon the cost of his time to his employer and the skill with 
which he can do his work. 

The cost of retouching can also be regulated by the amount the 
customer is willing to spend, and this, of course, governs the amount 
of work that will be done. In such cases the artist is limited to a 
certain number of hours or fractions of hours, with directions to do as 
much and as good work as possible according to instructions within 
that time. When a limit is given the retouching done is applied to the 
parts needing it most, and no attempt is made to cover the entire sub- 
ject unless the time allotted will permit it. There are certain kinds of 


RETOUCHING, ALTERATIONS AND GROUPING 109 


retouching that can be satisfactorily done by artists of limited experl- 
ence, while other classes can only be done by the most skillful. The 
latter, of course, command good wages and their work must be charged 
for accordingly. 

In sending photograph which is to be retouched, the customer, if 
unwilling to leave the matter to the engraver, should state how much 
retouching he wishes to be done on the photograph, and if the plate to 
be made is to be used with other plates already made he should send 
proofs of them in order that the new work may be made uniform 
with the other. If there is a limit to the amount which the customer 
is willing to spend for the retouching, it should be so stated. Clear and 
full instructions in regard to these matters always facilitate the work 
of the engraver by eliminating the necessity of having to write for 
further instructions. 

The more nearly perfect the photograph the less retouching is 
required, and the suggestions given elsewhere under Commercial 
Photography will be of assistance in obtaining photographs requiring 
the least amount of retouching. 


*Fig. 230. 


DRAWING on which the color has been applied as a wash is 
known as a wash drawing. While the color is usually put on 
with a sable brush, the air brush, pen and ink, crayon and 

spatter work are also often used in combination. 

In illustrating many subjects, it is often impossible to obtain satis- 
factory photographs from which to make the reproductions, though a 
photographic effect is desired. In such cases wash drawings are neces- 
sary. They may be made not only of scenes or objects in existence and 
which can not be satisfactorily photographed but they are also made 
of imaginary subjects of every kind. 


THE NEED FOR WASH DRAWINGS 


Subjects are often so located or are of such size or shape as to make 
adequate photographing impossible, although in such cases the photo- 
graphs that may be obtained can be used to advantage as copy for, or 
as an aid in making the drawing. | 

Many advertising designs, birdseye views, machines, x-ray views 
and in fact almost every class of subjects may be drawn by this method. 
A large part of the pictures illustrating stories in the magazines and 
books of fiction are from wash drawings of some kind, although a few 
of these illustrations are made from especially posed photographs on 
which more or less retouching is done. 

There are also many subjects that would appear to the layman 
adaptable to successful photography but for which photographs are im- 
practical because important selling features would show at a disadvan- 
tage or, because the photographs would require so much retouching as to 
make wash drawings more feasible. Such articles as clothing, shoes, 
glass bottles, jars, etc., can nearly always be more successfully drawn 
than photographed. There are also many small articles with plain sur- 
faces and not possessing small detail of which wash drawings can be 
made at less expense than photographs if it would be necessary to 
photograph each separately. 

Because of reflections and the slight imperfections in manufacture 
of glassware, such as bottles, jars, etc., it is practically impossible to 
make photographs of such articles that will not require a considerable 
amount of retouching. As such retouching must necessarily be done 
with an opaque color, it is impossible to obtain by this method the 
clear smooth transparent effects required and they must be drawn. 
However, photographic negatives are often used from which to obtain 


*Outline finish halftone, 150 line, Made from a wash drawing. 


WasH DRAWING 111 


Fig. 231 is an outline halftone, 150 line, made from unretouched photograph of the bottle. Fig. 232 is a square finish 
halftone, 150 line, no line, made from pencil tracing from silver print. Fig. 233 is an outline halftone, 150 line, made from 
wash drawing that was made over the tracing shown in Fig. 232. 


Fig. 231. Fig. 232 Fig. 233. 
Photograph and wash drawing of same bottle. 


silver prints from which to trace general outlines, thus assuring correct 
proportions for all parts. After the outline is obtained in pencil on 
such subjects, the color is added with the air brush to obtain the trans- 
parent effect of the glass, while the smaller detail is added by hand. 

Illustrations of clothing, both for men and women, are usually 
reproduced from wash drawings, especially clothing for men because 
of the difficulty in obtaining models on which the garments will fit per- 
fectly. By drawing it is also possible to obtain more distinctive illus- 
trations than if the subjects were photographed. 

It is also possible when making wash drawings to take liberties in 
accentuating certain details, modifying perspective and other features 
in order to bring prominently to the notice of the reader special char- 
acteristics that are to be emphasized. These things can not be so well 
done by photographing or by retouching a photograph as by drawing. 

It is possible, of course, to make a wash drawing of almost anything 
and the effect obtained, as well as the quality of work produced in the 
finished picture, depends upon the skill of the artist as well as on the 
subject. Quality is also sometimes affected because of an insufficient 
appropriation on the part of the customer to cover the cost of the 


Pages 97 to 112, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


Outline halftones, 150 line. Fig. 234 was made from a wash drawing and Fig. 235 from an unretouched photograph. 
Fig. 234. Fig. 235. 
Wash drawing and photograph of same shoe. 


work. Too often work of this character must be sold for what the 
customer is willing to pay rather than what a properly finished drawing 
is worth. 

A wash drawing for commercial purposes is made up on special 
order to be used for a definite purpose and, unlike the drawing or 
painting that has been made for art’s sake, it has no value except for 
the purpose for which it was intended. Thus it will be seen that a 
stock drawing, or one made up without any definite purpose in view, 
can seldom be adapted to commercial use. 


KINDS OF WASH DRAWINGS 


Most wash drawings are made up in ‘‘black and white’’—that is, 
they are made on white drawing board, usually in tones of color run- 
ning from black to very light grays or pure whites in the highlights. 
They are also often made in sepia and in transparent colors. 

Wash drawings may be made with either transparent or opaque 
color. In a transparent wash drawing the wet flowing color is first 
worked in a weak tone and greater strength of color is obtained by 
adding color again and again until the proper tone appears. This is the 
method usually employed by commercial artists in making drawings, 
as the method is somewhat quicker and more simple than use of opaque 
color. 

In making an opaque wash drawing an opaque pigment is used 
and the composition is first worked up in masses, or all over, and then 
the artist adds light and shade as may be necessary to obtain the 
desired detail. The full tone values are readily reproduced in the half- 
tones from such drawings. Practically all photo retouching is done 
with opaque colors, because in retouching it is necessary to cover the 
detail of the subject, over which the color is being applied, so that 
only the new detail as put in by retouching will appear in the picture. 

As a drawing in distemper is one made in a coarse rough effect 
similar to that in wall decoration and scene painting, the first applica- 
tion of color for an opaque wash drawing might be termed a drawing 
in distemper. 

Difficulty is sometimes experienced in reproducing by the halftone 
process wash drawings in which the highlights have been obtained by 


Wast DRAWING ies 


the use of white paints or inks. Some of these do not photograph as 
white, although to the eye they may appear as white on the drawing. 
They do not come as white in the photographic reproduction. Also 
some of the whites used by artists in drawing discolor with age, taking 
on a decided yellowish tinge which will have a tendency to photograph 
much darker than they appear. Thus difficulty is sometimes experi- 
enced in reproducing old drawings. 


_ Square-outline halftone, 150 line, no line. Separate halftone negative made of each drawing, and these negatives 
stripped together in positions as shown. 


Fig. 236. The same subject drawn with an opaque color (above) 
and with a transparent color (below). 


KINDS OF COPY AND HOW TO ORDER A WASH DRAWING 


The copy from which a wash drawing may be made is practically 
unlimited as to form. It may be made from a word description, from 
a rough sketch, a mechanical or architectural drawing, a photographic 
copy, the object itself, or in fact any material that will give the artist 
a conception of what is wanted. 

When the subject is entirely imaginative, a rough sketch even of 
the crudest kind will be a great help in getting a proper start. 

The artist must also be informed as to what purpose the drawing 
is to be used for, and if a halftone reproduction is to be made he should 
be informed as to the size of the plate, and where it is to be used. He 
should be instructed as to whether it should be made in black and white, 
or in colors, and should be given special instructions regarding margins, 
provision for extra background, borders, lettering, etc., if special con- 
ditions should so require. The order should be placed far enough in 
advance of the time the work is needed to give him ample time to do 
good work. On the other hand, the artist should make delivery by 


114 COMMERCIAL ENGRAVING AND PRINTING 


the time wanted. In the written instructions, which should be given 
to the artist when the order is placed, he should also be informed as 
to any special style of treatment or drawing desired—in fact, a little 
time given to the proper placing of the order will be amply justified 
through the assurance it will bring about of satisfactory work at the 
lowest possible cost. 

Except when the subject is of a very simple kind, it is well that the 
first step in the work be the making of a rough pencil sketch to be sub- 
mitted to the customer to make sure that the ideas of the customer 
and those of the artist coincide. If the work is being done for a cus- 
tomer experienced in giving such orders, the sketch may often be dis- 
pensed with and a layout of the subject in pencil submitted instead. 
In making drawings of subjects in which a large amount of detail is 
involved, it is well to submit a layout of the general features first, 
then after this has been approved, to add further work until a complete 
detailed layout is produced on which, after approval, the color may be 
washed to finish the drawing. 

As no two persons have exactly the same conception or mental 
picture of a proposed subject, for one to reproduce correctly the ideas 
of another, it is sometimes necessary to begin in a very simple way as 
with the rough sketch, then work together step by step through revised 
sketch, layout, etc., until the work is completed. 

If opportunity is given the customer to pass upon sketch, rough 
layout and finished layout, such changes as are necessary may be 
readily made and almost always with little or no loss, but if a careful 
inspection of the work is deferred until the drawing is completed and 
errors are then discovered, alterations are usually expensive, and are 
sometimes impossible without making a new drawing. 


THE SIZE WASH DRAWINGS SHOULD BE MADE 


As a wash drawing is usually reproduced by the halftone process 
for letterpress printing, or by photo mechanical processes for other 
use, and as rough lines which show in the drawing cannot be easily 
corrected in the plates or other reproduction, drawings are usually 
made much larger than the reproductions are to be, so that when re- 
duced for the reproduction less prominence will be given to the im- 
perfections. They are also usually made for a much larger scale of 
reduction than pen drawings and the character of the work and size 
are often determined by some special effect that may be sought in the 
reproduction. | 

By drawing subjects in a larger size the artist also finds it easier 
to obtain best effects and correct detail. The nature of the detail in 
the subject and the size of reproductions to be made usually determine 
the size the drawing should be made. It is seldom advisable to make 
a drawing the same size as reproduction is to be made, and when prac- 
tical it should be planned for from twenty-five to fifty per cent. reduc- 
tion. Drawings are often made requiring as much as five or six or 
more times reduction, but it is not advisable that they be made for too 
much reduction; first, because of possible loss of detail in the reduction, 
and second, because of the inconvenience of handling such large copy. 


Wasu DraAawtna ete 


Square halftone, 150 line, with line and black and white lines separating the views. The separate halftone negatives 
were stripped together and the white lines were cut in on the plate. 


Fig. 237. Section of a wash drawing reproduced in one-half reduction (at left), 
in same size as drawing (top at right), and 50% 
enlargement (bottom at right). 


A drawing should never be made smaller than the reproduction is to 
be, because in enlarging all detail is magnified and hence all imper- 
fections are magnified to the extent of the enlargement and the result 
is usually a rough illustration unfinished in appearance. 


PHOTOGRAPHS AS COPY 


The camera is often used for photographing poses or special subjects 
of which drawings are to be made, the photographs being used as copy 
for the artist to work from. Such photographs carry all of the detail 
and are more convenient to copy from than the model or object being 
drawn. 

Some subjects are photographed and from the negative a light 
print is made which is entirely washed over or drawn over with crayon 
or other medium, and other surroundings are added so as to make the 
whole appear as an original drawing. | 

Many artists use models when making drawings in which persons 
are to appear, copying the poses to obtain correct positions and pro- 
portions, or other detail. Also there is often a wide divergence in some 
of the details between the model and the finished drawing, such as 
changes in garments, features, etc. 

It is seldom practical to attempt to make a wash drawing of a 
portrait when the identity of the person is to be featured. Only an 
expert portrait artist is capable of handling such a subject, although 


Pages 113 to 128, inclusive, are printed on 25x38—80 |b. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


116 COMMERCIAL ENGRAVING AND PRINTING 


Combination; square halftone, 150 line, no line, made from unretouched photograph; white on black line etchings on 
zinc made from engineer’s working drawings. Plates grouped and nailed on one block. 


Fig. 238. Photograph and blue print copy from which 
wash drawing in Fig. 239 was made. 


outline halftone, 150 line, no line. Two halftone negatives stripped together, that at right being from the 


Square- 
pencil layout submitted to the customer, and that at left from the complete drawing. 


Fig. 239. A wash drawing of an interior that could not be 
successfully photographed. 


WasH Drawinc 117 


the ordinary commercial artist is usually able to change the identity 
of a person in a photograph, when this is desired, or correct minor 
imperfections, such as the removal of spots, etc. 


Outline-vignette halftone, 150 line. Combination drawing was made of border lines and vignette from which a half- 
tone negative was made into which was stripped halftone negatives of the four views of the motor. The upper left view 
was made from a photograph of the shop drawing; the upper right from the same photograph after a part of the interior 
had been painted in, the lower left after additional of the detail had been worked over and the surrounding background 
painted out, while that at lower right is from the finished drawing. The air brush was used for the larger smooth surfaces 
and the sable brush for the small detail. The black border lines were painted in on the plate and the white lines tooled in. 


Fig. 240. Illustrating progression of wash drawing of a sectional 
view made from engineer’s shop drawing. 


BLUE PRINTS AND SHOP DRAWINGS AS COPY 


Drawings of many mechanical subjects are made from blue prints, 
or working drawings, of the subject before the article has been built. 
A new model of motor car may have been decided upon and all working 
drawings for shop production may have been made. Instead of waiting 
until a car has been produced which can be photographed so as to 
provide copy for advertising purposes, the artist is furnished with a set 
of blue prints from the working drawings and a wash drawing is made 
from which the reproductions are made. A photograph of the working 
drawing, showing a straight side view of the car, may be washed in 


118 COMMERCIAL ENGRAVING AND PRINTING 


and slight perspective may be added so as to give it the appearance 
of a photograph of the complete car. The same plan may be followed 
in working from blue prints of a new factory building or any other 
kind of building project, thus giving a complete view of the work long 
before construction of the actual subject is complete. In producing 
such drawings the artist is, of course, better able to produce the work 
in correct detail if all possible data are furnished him, such as correct 
drawings showing all details of parts, different elevations, ground 
plans, etc. 
DRAWING ON SPECIAL SURFACES 


To obtain special effects that may be had by producing drawings 
on special papers having rough, stippled or patterned surfaces, the 
artist sometimes sensitizes these special papers so as to obtain thereon 


—F 


£5 sementiaiiaiiady 


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* INDIANA 
2. SM 


Outline-vignette halftone, 150 line. 


Fig. 241. Reproduced from a wash drawing made from 
blue prints from shop drawings. 


a photographic print of the sketch or subject of which the drawing is 
being made. After the subject has been outlined or the drawing is 
finished, the paper is treated as may be necessary to use the drawing 
for reproduction purposes. 


UNIFORMITY OF COLOR IN DRAWINGS 


In preparing a series of illustrations for booklet or catalog, uni- 
formity of color in the illustrations should be maintained. This is 
comparatively easy if all subjects which are to appear are new and are 
made up as one lot, but if some new ones are to appear with old ones 
the artist should be furnished with one of the old drawings as a sample 
showing color and style of treatment that is to be followed, or the old 
drawings should be altered to conform to the new ones being made. 
Unless drawings in a series are uniform in color, uniformity in the re- 
productions cannot be expected. If some of the drawings have been 
made with a color containing a little red or a little yellow they will 
have a tendency to reproduce slightly darker than those which have 


Wash Drawtna 119 


Outline finish halftones, 150 line. 


Fig. 242. Fig. 243. 
Lack of uniformity in color. 


been made with color containing a little blue, for the latter has a 
tendency to become grayish. 


COMBINATION OF WASH AND LINE DRAWING 


An explanation of the method followed in producing the harness 
illustration as shown in Fig. 245 will probably be of interest and may 
offer a suggestion for handling other subjects in a similar manner. 
First, a live stock artist was commissioned to make a drawing of the 
horses as shown in Fig. 244, the subject to be used for showing single 
and team harness. An II x 14 photograph was made of this drawing 
on which the far horse was painted out. A sheet of tissue was mounted 


Fig. 244 is a square finish halftone, 150 line, no line, and Fig. 245 is an outline-vignette finish halftone, 150 line. 
Fig. 244. Fig. 245. 
A combination of wash and line drawing. 


120 COMMERCIAL ENGRAVING AND PRINTING 


over the photograph and on this the artist sketched the details of the 
harness in pencil, making the sketch from the actual harness. After 
the sketch had been approved the harness was drawn on the photo- 
eraph with pen and ink and wash and from this copy the halftone 
was made. Each style of harness to be illustrated, of course, called for 
a new photographic print and both horses were used when a team 
harness was shown. In drawing by this method it was possible to bring 
out prominently the harness and elaborate on the special selling fea- 
tures. To have photographed the harness on an actual horse, or on a 
dummy such as used by saddlers for display purposes, would have 
brought out ill fitting features and would not have given the promi- 
nence to the harness it was possible to give it by drawing. 


CARE OF WASH DRAWINGS 


Wash drawings should be carefully protected to prevent damage 
from careless handling. This is usually best accomplished by pasting 
one edge of a sheet of strong wrapping paper to the top edge of the 
back of the drawing, and folding it over to cover the face of the 
drawing. Such a cover can be easily folded back out of the way when 
the drawing is on exhibition or being worked on, and when it is over 
the face will protect it from the ordinary dangers of damage. Spots, 
scratches or other defects must be removed before a perfect reproduc- 
tion can be made, and the removal of such blemishes is very often 
difficult and expensive as well as sometimes impossible; hence the im- 
portance of the proper care and protection of valuable drawings. 


ALTERATIONS, COST, ETC. 


It is often practical to make alterations on old wash drawings to 
modernize them, also to repair drawings that have become damaged. 
Some difficulty is sometimes experienced in matching the color and a 
difference is sometimes noticeable when one artist alters the drawing 
made by another. When the margin on an original drawing is not 
sufficient to allow for the desired additions this difficulty may be over- 
come by photographing the original drawing and leaving ample margin 
on the new print and then by retouching, altering or adding to the 
photograph obtain the change wanted. 

Wash drawings which are to be reproduced for printing in one color 
should never be made in colors, but in black and white only. If made 
‘n colors it will be difficult if not impossible to get a direct reproduction 
and retain relative color values for plate for printing in one color with- 
out extra expense. 

The cost of wash drawings is based upon the amount of artist’s 
time consumed in doing the work, to which is added such preliminary 
expense as may have been involved in obtaining photographs or other 
data to be used as copy to follow in making the drawing. 

The process of making a halftone from a wash drawing is the same 
as in making one from a photograph. Therefore all operations and the 
cost of reproducing the two types of copy are the same. 


Pages 113 to 128, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio 


— 


*Pig. 250. 
Way caty tne made with pen and water proof black ink are com- 


monly known as “‘line drawings’’ and in this class are also 

included drawings made in line or stipple with pencil, crayon 
or brush when made up of lines or dots strong enough in color to be 
suitable for reproduction by the line etching process. Subjects that 
have been made by the use of the shading machine, rossboard, coarse 
spatter work, proof of type matter, typewritten work, longhand, 
etc., are also known as line copy. 

In a line drawing there is no continuous blending of color from 
light to dark as in photographs or wash drawings, but the blending 
effect from one tone to another is obtained through the size and 
spacing of the white or black lines or dots. Tones of color are also 
applied to line drawings by what is known as cross hatching. By 
this method the lines are first drawn continuous and parallel over the 
surface to be shaded, the width of the lines and the spacing between 
them regulating the tone of color and then parallel lines are drawn in 
the opposite direction, or if the copy is black and is to be lightened 
white lines are used. Tones of color are also obtained by spatter 
work. This is done by applying the black, or white, ink to a stiff 
brush, such as a tooth brush. By bending and quickly releasing the 
bristles of the brush the color is thrown in uneven quantities in spots 
to the surface that is to be covered. The surrounding parts are of 
course covered with a mask during the operation so that the color is 
applied only to the part where it is wanted. 

To reproduce well, all line drawings should be made with water- 
proof black ink on white bristol board, although it is possible, but 
usually entails an extra cost, to produce by the line etching process 
blacks that have been drawn on other than white board or copy other 
than black which may have been made on white board. 

Practically all of the illustrations in newspaper advertisements 
are reproductions from pen and ink drawings or other line copy, also 
much of the feature matter, especially the decorations, is from the same 
kind of drawings, halftones being used principally for portraits and 
such subjects as must be photo-mechanically reproduced to save time 
or to obtain a photographic likeness. 

Line drawings are also extensively used for lettering, borders, 
decorations, catalog, book and booklet cover designs, buildings, 
labels, headings, fashion illustrations, etc., as well as for illustrating 


*Line etching on zinc from pen drawing. 


Line etchings on zinc from pen drawings made over silver prints. 
Fig. 251. Fig. 252. Fig. 253. 
Outline, shaded and stippled line drawings. 


some catalogs. They are also used in combination with photographs 
and wash drawings, and drawings of any subject may be so made by 
this method as to be reproduced in one or more colors, or in combi- 
nation with halftone. 

Many of the subjects drawn in line are worked over silver prints 
as described elsewhere, but in producing an original subject the 
customary method of procedure is to furnish the artist with written 
instructions as to what is wanted, stating the purpose for which it is 
to be used, the size and method by which it will be reproduced, when 
wanted, and all other data that will be of assistance in executing the 
order. If the subject is a catalog cover, title page, border, or similar 
order, he should be informed as to the size of the page on which it is 


Line etching on zinc. 


Fig. 254. Black on white, and white on black, cross 
hatching and spatter work. 


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LINE DRAWING 123 


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Combination outline-vignette halftone, 150 line, and line etching on zinc mounted inside panel. 


Fig. 255. Making a pen drawing—making the pencil sketch, making 
the drawing, the drawing and a line etching on 
zinc reproduction of it. 


to be used, whether it is to be bound on the long or short side, so that 
he may know which dimension is width and which is height, and he 
should be told about the color of paper to be used, the number of 
colors in which the subject is to be printed and the colors, unless these 
specifications are to be left to him for suggestions. 

A sketch is then submitted showing the proposed design in the 
size in which the subject is to be printed, and after approval an 
enlargement is made of this by the silver print method or by the 
pantograph to the sheet on which the drawing is to be made. The 
enlargement is first made as a pencil layout which is sometimes sub- 
mitted for approval, when alterations are to be made but are of such 
a nature as to make a new or revised sketch unnecessary. The color 
is now applied with pen and ink, brush or other medium as required 
and the drawing is ready for reproduction unless it is first necessary 
to submit it to the customer for approval. 


1A. COMMERCIAL ENGRAVING AND PRINTING 


DRAWING FOR LINE COLOR PLATES 


In drawing a subject in line that is to be printed in colors it is 
customary first to submit a color sketch which is made in the size 
the plates are to print and which will show approximately the detail 
and method of combining the colors in the subject. After thishas been 
approved by the customer, a working drawing is made and this does 
not usually carry all of the detail, as if made for printing in one color, 
but consists of the principal outline and such detail as is to print 
with the key plate and either permanent or temporary lines indicat- 
ing the outline of the other colors. If drawing was made in the different 
colors showing the subject as it is to appear in the finished print it 


Line etchings on zine. 


Fig. 256. Fig. 257. 
Crayon Drawings. 


could not be reproduced without making alterations or perhaps an 
entire new drawing, since there would be no practical means of sepa- 
rating the colors when making the plate for printing each separate 
color. This subject is further explained and illustrated under Line 
Color Plates. 

LETTERING 


To obtain distinctiveness to headlines and other text, as well as 
to provide a style of letters to harmonize with a special design or 
special space, the drawing of lettering constitutes a very important 
branch of line drawing. There is practically no limit to the number 
of styles of lettering the designer or artist may execute and the draw- 
ing of lettering is a special branch of commercial art. Many artists 


LINE DRAWING 125 


excel in this class of work while some who are very efficient in other 
branches have little ability at lettering. While much of the letter- 
ing is first sketched and then carefully laid out in pencil after which 
it is carefully drawn, some, known as freehand lettering, is drawn 
without any preliminary preparation except pencil lines indicating 
the base line for the lettering, the height of the capitals, and the 
height of the lower case letters. This freehand lettering is used for 
the less expensive class of art work for titles, references, etc., while 
there are innumerable uses for the carefully drawn lettering. The 
skill required to do good lettering is as great as or perhaps greater 
than that necessary for any other special branch of art work and it 
is rather slow tedious work. Therefore to the inexperienced the cost 
of good lettering may often appear excessive. 


WHEN You TRAVEL THROUGH 
JTowN iN A STREBT CAR ON 
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Line etching on zine from pen drawing. 


Fig. 258. A cartoon drawing. 


CRAYON 


A soft black crayon is often used on rough surfaced board for 
making illustrations that are to be reproduced by the line etching 
process. Strong, striking effects may be obtained which reproduce 
well, and if properly made will print well on almost any kind of paper, 
but it is impossible to obtain fine lines and minute detail by this 
method of drawing. It is often used for drawing characters with 
which to call special attention to certain parts of copy that is being 
reproduced, printing in the same color as the main subject or made 
as a separate plate and printed in a different color. 


CARTOONS 


Nearly all of the cartoons as printed in the daily newspapers are 
line etchings made from line drawings. A few are made with crayon 
and some are a combination of line and crayon or line and machine 
shading. Cartooning is a special branch of commercial art. There 
are comparatively few artists expert at cartoon work who are expert 


S Sec cance aad a 


Square finish halftone, 150 line, no line. 


Fig. 259. A rough pencil sketch to be inked in. 


Line etching on zinc. 


Fig. 260. Subject as in Fig. 259, after being inked in. 


in any other branch. On the other hand, few men who do lettering, 
decorative drawing or mechanical drawing can make a creditable 
cartoon. Many of the prominent cartoonists have developed a special 
individual style of drawing for their own work. 


TRACING AND INKING IN 


Many subjects of which reproductions by the line etching process 
are wanted are in a color that will not photograph well and they 
may be a part of copy that cannot be marred or damaged by inking 
in with black drawing ink for reproduction. In such and similar 
cases it is necessary to make a tracing from which to make the repro- 
duction. For instance, a reproduction may be wanted of the signa- 
ture on a valuable letter, the original of which must not be marred 
in any way. A sheet of thin transparent paper is placed over the 
signature and the artist carefully follows the lines of the signature 
with pen and drawing ink on this paper, and from this tracing the repro- 
duction is made. The same plan is followed in making a facsimile 
reproduction of a letter in longhand if it is desired to preserve the 
original. Often when it is not necessary to preserve the original and 
the matter is in a color that will not photograph the artist may put 
it in condition for reproduction by going over all the lines with pen and 
black waterproof ink. The line etching is then made from the “inked 
in’’ copy. 

TYPEWRITING 


Many reproductions are made in line etchings of testimonial 
letters, certificates and other documents. It is seldom that such 
copy can be reproduced without some special preparation. Type- 
written matter to reproduce well must be in black and all characters 
clean, sharp and uniform in color. It is necessary to re-write prac- 
tically all typewritten matter that is to be reproduced, using a clean 
sheet of black carbon paper and removing the ribbon from the ma- 
chine. In re-writing, parts may be omitted, errors in spelling, punc- 


LINE DRAWING 127 


West View, Allegheny County, Pa. 


. oe ON 
Btote Life Lasursnce Cosas, Mr. James W. Swoger; 
PEROEKR Sins SIGs, PIoGuarsh, Be. District Manager, 
State Life Insurame Company, 
1424 Farmers Bank Bldg., Pittsburg, Pa. 


Dear Mr. Swoger:- 


I want to thank you and the officers of the 
State Life Insurance Company for the prompt settlement 
of Policy No.217821, ismed to my late husband, Edward C. 
Getler for $1,000. 


He paid in premiums but $22.12, The Policy provided 
for Double Indemnity for Acoidental death. I received your 
check in full for the $2,000 due, as Mr. Getler was killed 

in an Auto accident on September 23rd, proofs were miled you 
on October 11th and I received your check on October 14th just 
three days after proofs were miled. 


To his and my friends I can recommend your Sterling 
FO: HIG Ex me ITedonde: faut Mecoss ve HORT SREVAINE Company. 


oe irate Sout ¢ snd ‘Boffeticiary. 


Fig. 261 is a square finish halftone, 150 line, no line. Fig. 262 is a line etching on zinc. 


Fig. 261. Fig. 262 
Original typewritten letter and a re-written copy of it with traced signature. 


tuation, etc., corrected. If a letter, the new copy is trimmed and 
placed over the original, to permit a reproduction of the heading with 
the letter. By tracing the longhand signature, if there is one, onto the new 
sheet a copy is prepared that will reproduce well. It would be possible 
to reproduce letters that are written in blue, purple or other colors than 
black with the aid of special plate and color filter but this would entail 
additional expense. Even though this be done, owing to the fact that 
there are very few letters perfectly written originally, unless written 
especially for reproduction, there would possibly be many characters 
of uneven color or stroke that would not reproduce well. In case of 
error in re-writing for reproduction it is not necessary to rewrite the 
entire letter but only the correction, which can be mounted on the sheet 
in its proper place. Such patching will not show in the finished 
reproduction, as explained elsewhere. An extra charge is always 
made by the engraver for re-writing letters and preparing them for 
reproduction. Letterheads that are printed in black or some dark 
color usually can be reproduced satisfactorily, but lithographed head- 
ings in which there is a predominance of fine shading or small detail, 
and letterheads that are from engraved steel dies or plates which 
have been printed in a light color and carry small lettering and detail 
are very difficult to reproduce. Some lithographed letterheads may 
be best reproduced by making a halftone of the finely engraved parts 
and using this in combination with a line etching of the coarser parts. 
Steel die embossed letterheads and others printed in colors are often 
reproduced more satisfactorily through the use of a special plate and 
a color filter. 
BLUE PRINTS 


Blue prints such as are made from shop working drawings may be 
reproduced by first photographing with a panchromatic plate and 
then making a positive from the negative and from this the print on 


Pages 113 to 128, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


128 ComMMERCIAL ENGRAVING AND PRINTING 


metal for line etching. This of course involves extra expense over 
what the cost would be if the etching were made from the line draw- 
ing from which the blue print was made. By either of these plans the 
plate, if printed in blue, would produce a blue line on a white background 
instead of a white line on a blue background as in the blue print. When 
there is a small amount of detail in the copy it is sometimes more 
practical to make a tracing from the blue print, with black drawing ink, 
when the blue print is to be preserved, or, if it is not necessary to 
preserve the original blue print, the white lines may be inked in with 
waterproof black ink and the sheet bleached with a weak solution of 
concentrated lye, to obtain a drawing in black lines on white paper, 
which is of course satisfactory copy for reproduction. 

When small blue prints are required in large quantities, or when 
an effective illustration is desired showing an imitation of a blue 


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Fig. 263 is a line etching on zinc. Fig. 264 is a white on black line etching on zinc made from same copy as used in 


making Fig. 263. 
Fig. 263 Fig. 264. 
Shop drawing and blue print. 


print, a white on black line etching may be made from a working 
drawing, and this when printed in blue on white paper will show white 
lines on a blue background as in an original blue print. 

Blue prints from photographic negatives may also be used as a 
basis for pen drawings or tracings in the same way that silver prints 
are used. The drawing is made with black waterproof ink over the 
image on the blue print and the sheet is bleached leaving black lines 
on white paper which may be readily reproduced in a line etching. 
This plan is often used by the retail furniture trade in making news- 
paper illustrations of pieces of furniture. The blue prints are fur- 
nished to the retailers by the furniture factories and cost very little 
as the factories are usually already in possession of the negatives. 

When several such drawings are to be made it saves considerable 
time to draw over the blue print and bleach it out instead of making 
a new silver print negative, or making a tracing as a basis for the new 
drawing. 


LINE DRAWING 129 


TYPE MATTER 


It is often necessary to reproduce a proof or print from type 
matter alone or in connection with a drawing or other copy. Subjects 
on which there is a large amount of lettering and in which the letter- 
ing must be a part of the design proper, can often be made up at less 
expense by having type set of the lettering, taking proof from it, and 
mounting this proof on the drawing in its proper place. The letter- 
ing can then be reproduced along with the rest of the design. The 
drawing may be made of a size adapted to the proof of the type at 


YOUR\ CATALOG 


| Your Catalog 


is off the press. It’s an 
Atkins. Contains 264 


pages of illustrations and 
descriptive matter of Silver 
Steet Saws, Saw Tools and 
Mill Specialties. This is 
the finest and most 
complete catalog ever issued 
by the Manufacturers of 


"A Perfect Saw 
for Every Purpose” 


Write today for YOUR CATALOG 


Pew sons 


HOME OFFICE any FACTORY 


E. C. ATKINS & CO, Inc. E. C. ATKINS & CO, Inc. 


“The Saver sive Sow Proele” Home Office and Factory, Indianapolis, Ind. Etablahed 1857 “The Saver Steal Sew People” Home Office and Factory, Indianapolis, Ind. Raskached 06) 


| HOMES OFFICE anp FACTORY 


Canadian Factory. Hamilton. Ont. Machine Knife Factory, Lancaster, N. Y. Canadian Factory, Hamilton, Ont. ine Knife Factory, Lancaster, N. Y. 
Branches carrying complete stocks in all large distributing centers as follows. Branches carrying complete stocks in all large distributing centers as follows: 

Atlanta Memphi New Orleans Portland, Ore. Seattle Paris, France Atlanta Memphis New Orleans Portland, Ore. _ Seattle Paris, France 

Chicago Minncspoks New York City San Francisco Vancouver, B.C. Sydney, N.S. W. Chicago Minneapolis _ New York City San Francisco § Vancouver,B.C. Sydney, N.S. W. 


Fig. 265 is a combination square finish halftone, 150 line, no line, with panel routed out and line etching on zinc of 
signature, this being the copy, with proof of text for the panel, from which Fig. 266 was made. Photographs were made 
of a drawing of the birdseye view and the hands holding the catalog. After adding the sky background and headline to 
the factory view the photograph of hands and catalog was trimmed and mounted in place. Fig. 266 is a combination 
halftone and line etching on copper, the text in panel being double printed and the signature being reversed from copy and 
made white on black. White lines tooled in the plates around large lettering at top. 


Fig. 265. Fig. 266. 


The use of proof from type in connection with a drawing. 


hand, a size of type may be selected to suit the drawing or by making 
a separate negative of the type and stripping it into the negative of 
the design it may be made to fit the design. Also proof from type is 
often used as copy for white on black line etchings and as copy for 
making negatives for double printing titles or text in halftone plates. 

Office forms, charts, diagrams, etc., may be prepared with a con- 
siderable saving of artists’ time for drawing the lettering and with 
the assurance of a clean, legible print by setting the type for the head- 


130 COMMERCIAL ENGRAVING AND PRINTING 


(Machine No. Order No. Machine No. 


\o 6 # 8 9 
ee we we IE 12 24 36 48 12 24 36 48 12 24 36 48 
181 301 42 154 |\6) 6 | 18 | 30 | 42/54 | 6 | 18/30/4254 | 6 | 18 | 30 | 42] 54) 6 
gree Saeco 


12 1 2 3 


12 24 36 


12 74 36 2. 48 12 24 36 48 
18 | 30 | 42 | 54] 6 | 18| 30| 42 | 54] 6 
Hes) Shes esa) 


36 48 

6 | 18| 30 ol 7 6 
eae ial we! (eal 

Name of Piece 

Sea 

SEZ Se 


Fig. 267 is a square-outline halftone, 150 line, no line. Fig. 267 is a line etching on zinc from the same copy. 
Fig. 267. Fig. 268. 
Patching proofs from type on drawings for line etchings. 


ing, explanatory notes, etc., taking press proofs in black and cutting 
and mounting these in their respective places in a pen drawing of the 
ruled form. Plates of this nature may often be produced by this 
method at much less cost than by setting the form, and with the 
assurance that there will be no open joints between pieces of rule and 
other objectional imperfections in the work. Also it is not always 
possible to obtain just the right size of type when the form is set in 
type and electrotyped, but by reducing it in making the line etching 
it is possible to meet the requirements with whatever type is at hand, 
the drawing being made to conform with the type. While such copy 
itself may appear very badly patched up, yet when it is reproduced 
by the line etching process only the lines that are drawn with black 
ink and the proof of the type that has been mounted will reproduce, 
the edges of the patches not photographing in the reproduction. 
Black or medium heavy faced type should be selected for reproduc- 
tion as extremely light faces and those with fine line serifs do not 


MEP WM SING NS Sa SSE 


2 ~~ ron 
I OINE Ee 


S SS 
{F< 


Line etchings on zinc. One-half of the design was drawn as at left. Two negatives were made and in stripping one 
was reversed then the two placed together to form the complete design as at right. 


Fig. 269. Completing a design by making extra negatives 
of a part and stripping together. 


LINE DRAWING Le 


Fig. 273. Too much Fig. 274. Reproduced from drawing made with 
reduction. ordinary writing ink. 


All of the above are line etchings on zinc 


Effects obtained in reproductions from the same line drawing. 


reproduce well. In the accompanying halftone illustration is shown 
a section of form patched up as above described while adjoining it is 
shown a line etching reproduction of the same copy. Figs. 267 and 
268. 

PATCHING 


While it is not always practical, yet in producing some subjects as, 
for instance, a complicated border, one side of which is a duplicate 
of the other except that it may be reversed as to position, a drawing 
of one part only needs to be made and by making an extra negative, 
or negatives as the case may require, reversing or making straight as 
necessary, and stripping these together, the time for drawing may be 
considerably shortened. Of course there are extra charges for the 
extra negatives and stripping, and on a simple job these would exceed 
the cost of the time saved in drawing, but for a subject with much 
detail the saving of artist’s time would justify them. When it is 
found necessary to change the proportions of a line drawing of border, 


132 COMMERCIAL ENGRAVING AND PRINTING 


this often can be done by cutting and patching where either dimen- 
sion is to be made smaller than in the original, or the change may be 
made in the negative for reproduction which after being made with 
the smallest dimension of correct size is changed by cutting the neg- 
ative and eliminating a part and stripping together if the nature of 
the design will permit. Or, f one dimension must be made larger 
than the drawing will reduce to, this may be done sometimes by mak- 
ing an extra negative, taking pieces from one negative and stripping 
‘nto the other. When it is unnecessary to Pireserv™ the original 
drawing in its original state it is nearly always advisable to make the 
change in the drawing, rather than by making extra negatives and 
stripping. Any of these methods will entail additional expense 


according to the time required for the artist if the drawing is patched 


or the cost of extra negatives and stripping if the work is done in the 
engraving department. 


SIZE OF LINE DRAWINGS 


While there is no fixed rule as to the size line drawings should be 
made for a certain reduction, it is important that the artist should 
know when making a drawing at least the probable size of the plate to 
be made. This he must know so that the lines when reproduced will 
be of proper size. While a line drawing will usually permit of a con- 
siderable range in the size of plates that may be satisfactorily made 
from it, there is, of course, a limit. If too much reduction is made, 
the result is fine broken lines, producing unsatisfactory printing while 
an enlargement will produce rough and uneven lines. Ordinarily the 


drawing should be made from ten to fifty per cent. larger than thes, 


reproduction is to be, the size depending somewhat on the skill of 
the artist. An artist who is extremely careful in the drawing of his 
lines need not make his drawings as large as those made by an artist 
of less skill. Some make their drawings the same size the reproduc- 
tions are to be made, while even a large reduction will not overcome 
the imperfect lines in the drawings made by those less skilled. 

The quality of the drawing, of course, depends upon the ability 
of the artist, and the cost of it upon the ability and reputation of the 
artist as well as the time involved in producing the work. The detail 
may vary from a mere outline of the object to an elaborate shading 
throughout, including the minutest detail. 


ll 
*Fig. 280. 


use are made in line or wash, the methods of handling differ- 
ent subjects are almost as numerous as there are artists who 
do commercial drawing. 

If an advertiser were to instruct each of two commercial artists to 
prepare a sketch for a cover design for a motor car catalog, giving 
them only the name of the car and the name of the manufacturer, 
with no other data and permitting each to proceed according to his 
own ideas, it would be a rare coincidence if the resulting sketches 
proved to be similar in style, size, color or in any other detail, and 
with such instructions it would be still more remarkable if either 
sketch pleased the one placing the order. 

Unless the artist is to be given carte blanche, it is evident that if 
he is given some conception of the customers’ ideas for the design to 
be made, as well as the size for the reproduction, number of colors in 
which it is to be printed and the purpose for which it is to be used, 
much time will be saved in producing something that will please the 
purchaser. After all, the customer is the one that must be pleased, 
regardless of the artist’s ideas, and his degree of pleasure is increased 
by a saving in cost, due to artist’s time saved, if the work is begun on 
lines that are most likely to be satisfactory. On the following pages 
are illustrations showing only a comparatively few of the many ways 
in which advertisers have treated some of the classes of subjects that 
are most frequently met with in commercial art, these having been 
chosen for suggestive purposes rather than because of being especially 
noteworthy because of their character. These are given for the pur- 
pose of assisting in the development of new ideas that may be adapted 
to work under consideration. Although all of the reproductions have 
been printed in one color, any subject that may be developed from 
these can be adapted to the use of one or more additional colors. The 
size, and whether they are to be made in line, crayon, charcoal, wash, 
oil or other medium, are also details that may be varied to suit the 
work in hand as may also the shape and style of treatment. Styles 
shown can also be adapted to other classes of subjects, as for example, 
nearly all of the styles shown for portraits can be adapted to exterior 
and other views, the ideas from magazine advertisements can be 
adapted to folders, mailing cards, etc. 


' ‘ YHILE most of the drawings to be reproduced for commercial 


*Line etching on zinc from pen drawing. The tones of color were produced through the use of the shading machine 
on the plate before it was etched. 


134 COMMERCIAL ENGRAVING AND PRINTING 


In producing work in any of these classes it is usual first to submit 
a rough sketch in pencil or wash, color sketch or a layout for the cus- 
tomer’s approval, the nature of the preliminary work depending on 
the drawing to be made and the customer’s familiarity with such 
work. Then, after approval by the customer, follows the making of 
the working drawing from which the plate or plates are made. 


ARTISTS SPECIALIZE 


As stated elsewhere, artists specialize in the different classes of 
drawing and art work. One specializing on drawings for magazines, 
novels, and the like, is known as an illustrator; one drawing imaginary 
persons, as a figure artist; one making likenesses of individuals as a 
portrait artist; one making a specialty of drawings of suits, gowns, 
coats and other articles of wear, as a fashion artist, etc. One may be 
expert in decorative designing, another in lettering, another a specialist 
in retouching photographs or in making wash drawings of mechanical 
subjects, another in drawings of birdseye views, and so on through 
the many different kinds of art work, each being classed as a specialist 
in his particular line. And many of them are not only specialists in 
the class of subjects they handle, but also in their manner of treat- 
ment, whether in pen and ink, wash, crayon or other medium. 

These specialists who may be experts in a certain line are seldom 
able to do creditable work of another class. For instance, a magazine 
illustrator would probably not be proficient in drawing mechanical sub- 
jects, such as are required for illustrating catalogs of machinery. The 
mechanical draftsman who is able to delineate perfectly the details of 
a complicated machine for its construction in a shop drawing is seldom 
able to make a picture of the same subject in perspective. No artist 
is an expert in all lines, but many are adept in several classes of work. 
A combination of the work of several artists is frequently found in 
the same subject. For instance, one may make the sketch or general 
layout of a design, another the figures, another the lettering, another 
the mechanical illustrations, another the pictorial background, etc. 

There is also the element of quality entering into every piece of 
work. Very little of the acceptable ‘‘art’’ produced by the commercial 
artist can be satisfactorily done by an amateur or apprentice. Most 
advertisers have come to know what is good and no one can afford to 
use crude, inartistic or unfinished illustrations. Even in acceptable 
work there are degrees of quality. The best is looked upon as a luxury 
by the unappreciative buyers, but is regarded as a necessity by those 
who appreciate its true business-getting value. 

A student, or apprentice, may have more or less of the theory of 
art together with what is called natural art ability, but his work is 
usually not salable or acceptable for commercial use until these quali- 
fications are developed through persistent application along some 
special line, and under the direction of a practical specialist. 

Practical experience as an engraver’s artist is also almost a necessity 
for the commercial artist, as it is only through such an experience 


Pages 129 to 144, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


Metrunops oF TREATMENT 135 


Square-outline halftone, 150 line. Made direct from Square finish halftone, 150 line, with line. Made from 
an old daguerreotype. a crayon enlargement from copy used for Fig. 281. 
Fig. 281. Fig. 282. 


*Fig. 283. 


Reproducing old, soiled and poor portrait photographs = 
through crayon enlargements. 


*Square finish halftone, 150 line, no line. The subject at left was made from a crayon enlargement made from the 
small and poor amateur photograph, a reproduction of which is shown in center at top. The subject at right was made 
from a halftone print, 133 line, 214 in. wide, the copy for which was a crayon enlargement of a small old and soiled photo- 
graph reproduced in lower center of group, ‘and the latter was made from a halftone print, 133 line, 114 in. wide from the: 
original photograph. A separate halftone negative was made of each subject and these stripped together. The white, 
lines between subjects were cut on the plate. : 


136 COMMERCIAL ENGRAVING AND PRINTING 


that he may become familiar with the processes of reproduction, and 
thus be in position to prepare his work in such a manner as to meet 
the proper requirements for reproduction. 

The sale value of the work of an artist, regardless of his specialty, 
is determined by his ability, and the demand for his special class of 


C 
Square finish halftone, 150 line, no line. Made direct Square finish halftone, 150 line, no line. Made from 
from a black and white oil painting. a crayon drawing. 
Fig. 284. An oil painting. Fig. 285. A crayon drawing. 


work. The work of a good artist commands a good price, and there 
is no kind of art work that is not more or less commercialized. Even 
the finest art subjects are sometimes reproduced and used for different 
forms of advertising. 

CRAYON DRAWINGS 


Drawings made with crayon are used extensively in commercial 
work. Those made on rough surfaced paper are usually reproduced by 
the line etching process, while those made with soft crayons on smooth 
surfaced paper are reproduced by the halftone process. The former 
is often used for making impressionistic sketches and drawings for 
illustrations and designs used in newspaper advertising and for fac- 
simile reproductions imitating coarse handwriting or marking. The 
latter is used extensively in illustrating fiction and in advertising 
designs for magazines and for portrait work. Reproductions of many 
old photographs, daguerreotypes, tintypes, etc., are required for 
biographical and historical works, and owing to the condition of the 
originals, in most cases, it is necessary to make a copy from which to 
make the reproduction. An enlarged solar print, which is a special 
photographic copy, is first made of the original and this is worked over 
with air brush and by hand. In Fig. 281 is shown a reproduction of an 
old daguerreotype and in Fig. 282 a reproduction of the enlargement in 


METHODS OF TREATMENT Bx 


crayon made from it. In Fig. 283 is shown in the top view in the 
center a reproduction of a poor, small amateur photograph and just 
below it a reproduction of a badly spotted and discolored photograph, 
while at left and right are reproductions of enlarged copies in crayon 
of these subjects. 

OIL PAINTINGS 


Paintings in oil, in black and white or in colors, are extensively 
used for illustrations that are to be reproduced for use in books of 
fiction and magazine articles, also for many magazine advertisements. 
Unless they are produced by an artist of ability their value as an 
illustration or as an embellishment is not only lost but they are harmful 
because of the general impression given. Such copy must be repro- 
duced by the halftone process, and, because of the brush marks, more 
or less difficulty is experienced with the reflections from the raised 
surfaces. When reproducing to print in one color, it is often necessary 
first to photograph the painting and to make the halftone reproduc- 
tion from this instead of directly from the painting. Traces of the 
brush, and the threads in the canvas, are more or less noticeable in the 
reproduction, depending on how prominent these are in the original 
and how much the subject was reduced. Usually oil paintings lend to 
better lighting by daylight than artificial for negatives for reproduction. 


PASTEUS 


Pictures in pastel are seldom used in commercial illustrating unless 
it be for decorative or other special effects. They must be reproduced 
by the halftone process. As they are usually in colors, it is often 
necessary, in making a reproduction to be printed in one color, first to 


Square finish halftone, 150 line, no line. Made direct from original pastel in bright colors, without color filter 


special photographic plate. 
Fig. 286. A pastel. 


make a photograph of the original with special plate and filter, the print 
from which is used in making the halftone. Pastel drawings are 
occasionally used in magazine illustrating. As such drawings are very 
easily damaged in handling, special care must be exercised in shipping. 


Pages 129 to 144, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


138 COMMERCIAL ENGRAVING AND PRINTING 


Square-vignette halftone, 150 line, no line. Made from pencil drawing. 


Fig. 287. A pencil drawing. 


PENCIL DRAWINGS 


While the pencil is used extensively in making sketches, it is not 
so much used for drawings for reproduction. Work in pencil, how- 
ever, is considerably used for decorative purposes, backgrounds and 
similar work and when done in soft pencil must, of course, be repro- 
duced by the halftone process. Pencil lines that are sharp and black 
can be reproduced in line etchings, but it is not safe to plan to repro- 
duce work in pencil by this process. 


WATER COLORS 


A drawing made with water colors is known as a water color. The 
colors are obtained in dry cakes or moist tubes and mixed with water 
and applied with a brush. Color sketches are usually made with them 


Square finish halftone, 150 line, no line. Made direct from drawing in natural colors, without the use of color filter 
or special photographic plate. 


Fig. 288. A water color. 


MetTHops oF TREATMENT 139 


and many of the drawings that are to be reproduced for printing by 
the two, three or four color halftone process are made with them. 
Also most black and white illustrations of mechanical subjects, to be 
reproduced for printing in one color, are made with them. 


ADVERTISING DESIGNS 


_ The illustrations in Fig. 289 show reduced reproductions of adver- 
tisements that have appeared in different publications, and present 
some of the plans that may be followed in placing the illustrations in 


8 


sandbee 4 
andbee | 


na feos 
Yai. COLLE: 


Double print square finish halftone, 150 line, no line. The advertisements, the smallest of which were single column, 
were clipped from magazines and trimmed and mounted on a light gray card and from this group the halftone negative 
was made. Proofs from type used for copy for the line negative for double printing the key letters. 


Fig. 289. Arrangement of illustrations and border treatments 
for small and less than full page advertisements. 


small or less than full page advertisements, also border treatments for 
same. 

The size, shape, display and text of an advertisement are matters 
to be decided by the individual advertiser and need not be given con- 
sideration here. But in planning a design, in addition to its attention 
getting and selling qualities, consideration must be given to the 
method by which the design is to be reproduced, the relation of the 
cost of the design and plate to the cost of its insertion in the medium 
or mediums to be used, the paper it is to be printed on, and the probable 
quality of the printing. 


140 COMMERCIAL ENGRAVING AND PRINTING 


Ssiontd athe Pane sone’ 


bie 


AZ E: 


Double print square finish halftone, 150 line, no line. 


Fig. 290. Advertisement layouts; showing methods of placing 
illustrations, type, borders, display, white space, etc. 


’ 


It would be a waste of money to prepare a design requiring a com- 
plicated and consequently expensive plate for an advertisement to be 
published in a single issue of a trade journal with a small circulation, 


a a 


Metuops oF TREATMENT 141 


Sheldon 


POR MOTOR TRUCK: 


ee 


itiaigisionios 


LOUDEN | 


OVERNEAR CARVING SYSTEM 


si ee aD AED 


eesosoiian? 


eT RRO LEIA 


AZO 


[thank What An Antixeptic 
i Bee Cream Meanst 


i, 


coe 
Speokien ob hasee dex: 


Ge yaur Pessex wpeait 
abs SF your roomy ? 


iia 


tt wrt Te 
Hassccuut HoH 


eZ 
t Hotel 


SYLVANIA 
a 


PENN 


ee x 
Latest Stole Apphencs | 
ie Son ic es Coa 


Double print square finish halftone, 150 line, no line. 


Fig. 291. Advertisement layouts; showing methods of placing 
illustrations, type, borders, display, white space, etc. 


while such an expense might be justified if the advertisement is to be 
inserted in a number of publications, or in one or more magazines of 
large circulation. Delicate detail must be avoided, whether in halftone 


142 COMMERCIAL ENGRAVING AND PRINTING 


CKELLY-SPRINGEIELD 7 
gy 7 


* Perese Should Protect 


uC & @ 


BAU BAW 
{ Headed South Jock Frat : | Tek Wi The tates Moat 
‘ : : : Seltch Show RS 


4 


Double print square finish halftone, 150 line, no line. 


Fig. 292. Advertisement layouts; showing methods of placing 
illustrations, type, borders, display, white space, etc. 


or line, if the plate is to be printed on a low grade of paper, while on 
the other hand coarseness in design and detail is objectional when it is 
to be well printed on a high grade paper. 


MeEtTHODS OF TREATMENT 143 


a 


Reon Lo son! if 
* 


RE 


DAT 


DAY 
~~ Every Day—— 
Every Hour 
Every Minute 
Acid-Mouth 


io cttathind the toch of prose 
AS sak aban i? passe. 
Suseke oad Sack He 


Double print square finish halftone, 150 line, no line. 


Fig. 293. Advertisement layouts; showing methods of placing 
illustrations, type, borders, display, white space, etc. 


When ordering, it is important that the size of the space, in which 
the design is to be used, be stated definitely. The dimension from 
left to right should be given in picas and from top to bottom in agate 


144. COMMERCIAL ENGRAVING AND PRINTING 


lines, picas or inches, depending on the plan on which the space is 
bought. It is also necessary for the artist to know whether the design 
is to be reproduced in line or halftone, or a combination, and the kind of 
treatment as well as the general ideas of the customer. It is also well 
to give the name of the publication in which the advertisement is to 
appear. This information will not only save time, which of course 
saves money, for the buyer, but it will also possibly prevent error 
which might mean the expense of a make-over, delay or other loss due 
to a mistake in size. 

Many publications will not accept advertising plates unless they 
are furnished in exact size for the space purchased. While some will 
accept a smaller plate, centering it in the space, none will accept a 
plate larger than the space contracted for without extra charge, and 
plates are often refused that are too wide or too long for the space for 
which they were intended. 

It is not practical to give here the measurements of the columns 
and pages of newspapers, magazines and other publications, as there 
is no standard for any class of publications, and changes are made so 
frequently that any data given would soon become obsolete. The 
widths of columns vary. Although 13 picas is usually regarded as 
single column width, many newspaper columns are now only 12% 
picas wide, and some are only 12. The depth of a column and the 
number of columns to the page as well as the space between columns 
also vary in different publications. 

While the column and page sizes may be obtained by measuring 
the printed page this is not always safe, especially when preparing 
small plates, as some publications are printed from curved plates, in 
which case the size of the printed page has been increased, because 
of the curvature of the plate. The best way to obtain definite data 
covering a publication’s requirements of its advertisers is through its 
card of advertising rates. 

Some of the better printed magazines reserve the right to stipple 
or line all large black areas or heavy type faces, so that they may 
avoid what they term the ugly glaring effects of black type and black 
background and obtain a soft gray effect for their pages. Such publi- 
cations require original plates as explained elsewhere under “Duplicate 
Plates.”’ 

Space in the smaller publications is usually sold by the column 
inch, or at a stated price for 4, 14, % or full page, while space in the 
larger newspapers, magazines and trade journals is sold by the agate 
line, column width, 14 lines to the inch, the purchaser, of course, being 
permitted to use type of any size, or plate, in the space. 

Most publications charge extra for special position for an adver- 
tisement, if granted, such as top of column next to reading matter, or 
under and at side of reading matter, back cover page, inside front 
cover, inside back cover, double page spread in center, etc. Printing 
an advertisement in more than one color, or in a special color, also 
calls for an extra charge. 

A few publications require that all advertisements be set in certain 
type faces and they re-set those that do not conform to the general 
plan and makeup of their magazine. The minimum depth for adver- 


Metuops oF TREATMENT 145 


Double print square-outline halftone, 150 line. The 
several pieces of copy were photographed in one group. A print from this 
negative was cut apart to obtain a separate photographic print of each part, and these were 
grouped on a white background, leaving space in the lower right corner for a reproduction of the complete advertisement. 
The shadows were added to the background with the air brush, and proof from type was arranged for double printing 
the key letters. Halftone negative from a print of the complete advertisement was stripped into the lower right corner 


of the negative of the group. 
Fig. 294. An advertisement made from several separate pieces of copy. 


tisements wider than one column is also fixed by rule by many 
publishers. 

Most publishers make no charge for setting advertisements in type 
and type materials, or in connection with plates of illustrations 
furnished, when they are to appear in their publications, their adver- 
tising rates covering this expense as well as their charge for the space. 
However, some newspapers make an additional charge to their adver- 
tizing rates for composition and some make a deduction from their 
rates if plate of complete advertisement is furnished. Many adver- 
tisers, at their own expense, furnish complete electrotype plates of 
their advertisement to the publishers, even though they are made up 
entirely of type, as such a plan insures uniformity in the appearance of 
their copy in the different publications in which it is to run, and assures 
a display satisfactory to the advertiser, which might not be the case 
if the publications should set the advertisement, even though they 
were furnished with printed copy to be followed. The same type faces 
are not to be found in all composing rooms, nor can the same care and 
attention to details of the composition be expected as is given when 


146 COMMERCIAL ENGRAVING AND PRINTING 


the composition is done under the direct supervision of the adver- 
tiser. The plan of sending duplicate plates also makes it unnecessary 
to submit proof before inserting the advertisement. Any magazine or 
publication will be glad to submit proof of an advertisement, it may 
have set, in advance of insertion if copy reaches it sufficiently in 
advance of the closing date. 

It is customary for the advertiser to furnish at his own expense the 
plates for all illustrations that are to appear in an advertisement, or 
plates of specially designed advertisements, complete or mortised for 
type; or if these are made by the publisher they are made at the 
expense of the advertiser. 

The closing date, or time by which copy or plates must be received 
by the publisher to insure insertion in a certain issue, vary from a few 
hours previous to the date for the daily newspaper, to as much as 
three or four months in advance for the magazines of large circulation. 
The publisher should be notified in advance, when copy is unavoidably 
delayed and can not be sent until just before closing time, that proper 
space may be reserved. Foresight in the early preparation of copy, 
drawings and plates, will not only give the artist and engraver sufficient 
time in which to do their work properly, but will also usually insure a 
choice location for the advertisement in the publication in which it is 
to run. 

In Figs. 290, 291, 292 and 293 are a number of miniature reproduc- 
tions of magazine advertisements showing suggestions for the placing 
of illustrations, type, borders, decorations, etc. In making these 
groups, the original advertisements which measured 93% x 121% inches, 
were photographed in groups, reducing each advertisement to 21% 
inches in height and photographing as many on each negative as the 
plate would conveniently accommodate. The photographic prints 
from these negatives were then cut in order to obtain a separate print 
of each advertisement and these prints trimmed and mounted in 
groups on white backgrounds. The key letters were proofs from type 
arranged for double printing. 

In the advertisements of many advertisers there are certain features 
that appear in each advertisement, such as a signature design, trade 
mark, border or some other element. Or, in making up an advertise- 
ment it may be found that a drawing has been made for previous use 
that can be utilized as a part of the new design. In such cases it is not 
necessary to re-draw these parts in order that the new design may be 
complete in one piece of copy for the engraver, as often he can, by 
stripping together separate negatives from the different pieces of copy, 
assemble them in the one design wanted at less cost than the expense of 
redrawing. In Fig. 294 is shown an example of this character. The 
customer's sketch is shown in MAA, the working drawing of parts 
that had not been made for previous use in MAB; and in MAD 
border, in MAC birdseye and in MAE certificate, drawings that had 
been used in former advertisements. The border drawing was 18 x 24 
inches, thus it will be seen that each part required a separate focus 
in making the negative from it. The separate negatives were made in 


Pages 145 to 160, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


MetHops or TREATMENT 147 


sizes indicated by the sketch. Line negatives were made of the border 
and signature, the latter having been made from the signature in the 
certificate. These were stripped together with halftone negatives of 
the new drawing, birdseye and certificate and from this combined 
negative the plate was made. The type matter was set separately 


Combination line etching on copper and double print square halftone, 150 line, with gray border. The diagonal 
strips were cut from photographs and mounted in a group as shown. The display lettering was drawn on that copy and 
from this the halftone negative was made. Proofs from type were arranged for double printing the key letters and the 
shading machine was used on the plate to obtain the hand stipple effect in XH and the vertical ruling in XJ. The white 
lines were cut in the plate. 


Fig. 295. Backgrounds for lettering. 


148 COMMERCIAL ENGRAVING AND PRINTING 


Burreughs 


WRENNS 
PORCELAIN BLOTTING 


Double print square halftone,150 line, no line. The original blotters were photographed and the separate photo- 
graphs trimmed and grouped as shown, and the shadows were then added with an air brush. Proof from type was 
arranged for double printing the key letters. 


Fig. 296. Group of blotter designs. 


and an unmounted electrotype (16 gauge) was made from it and this 
nailed within the panel as shown in MAF, which is a reproduction of 
the complete advertisement, the original of which was 9 x 12 inches. 


BACKGROUNDS 


To lend to the attractiveness of advertising designs, pages, etc., 
there are various methods of treating the background. When the 
design is to be printed on a good grade of paper, there is a greater 
opportunity for variance and artistic effects through the use of the 
halftone. But when the plate is to be printed on a low grade of paper, 
very careful consideration must be given to the preparation of the 
background; otherwise the appearance of the design will not only be 
marred, but the legibility of the text will be seriously affected by poor 
results in printing if small type is used. Designs for newspaper use 
usually are best if all decorative background is eliminated, utilizing 
the space for effective illustrations, properly combined with border, 
type and white space. 

In Fig. 295 are shown several different background treatments 
over which appears lettering in a number of different styles, thus pro- 
viding for the reader a means of reference for ascertaining the appear- 
ance of different styles of lettering on different kinds of background. 
Light, medium and dark gray backgrounds are shown in strips XA, 
XB and XC. Photographs of leather, wood, cloth, landscape, figured, 


MeEtTHopbs ofr TREATMENT 149 


paper and small grain were used for strips XD, XE, XF, XG, XK and 
XL. Solid black in XI and grays through the use of the shading 
machine on white in XH and XJ. 


BLOTTERS 


It has been said that no one ever destroys an attractive blotter 
before using it, and several designs used in this popular form of adver- 
tising are shown in Fig. 296. The plain blotter poorly printed from 
type has little attractiveness and, therefore, possesses little advertising 
value, while one that has been well designed and well printed has an 
attractiveness which, if carrying the proper message, has great adver- 
tising value. A striking design printed in two or more colors has, of 
course, greater advertising value, just as any other piece of advertising 
matter in colors has greater value than if printed in only one color. 

In designing a blotter its utility should not be lost sight of and the 
stock on which it is printed should be of such a character that the 
absorbent qualities will not be affected through an excess of ink used 
in printing, and the design should be adapted to the blotting stock on 
which it is to be used. The softer blottings should be used when 
printing coarse line illustrations and large type, while enamel coated 
blotting must be used for fine screen halftones and process color work. 


FROM THE LIBRARY OF THE 
Ss 


oe pesyi * 


\ EX [BRIS | 
H.N.EIDEMILLER | 


In 


ASM 


Line etching on zinc. Made from group of original prints, arranged as shown. Proofs from type of the key lettters 


were pasted on the group. 
Fig. 297B. Book plates. 


150 COMMERCIAL ENGRAVING AND PRINTING 


Lithography, offset printing, and other processes may also be utilized 
in the printing of blotters. 

The size most commonly used for blotters is 9% x 4 inches, which 
size may be obtained, without waste, from the standard stock sheet 
of blotting paper which is 19 x 24 inches in size. Such a sheet will 
produce twelve blotters without waste, and for convenience in printing 
two, three, four, six or twelve may be run at one time without waste 
of stock. 

When printing blotters in large quantities they are often made up 
in a series of four, six or twelve different designs, using the same 
colors in printing, and distributing them one or more designs at a time 
at intervals most timely. As they are usually sent out without extra 
postage with correspondence, statements, bills, and other printed 
matter, the cost of distribution is light and this plan offers an oppor- 
tunity to put before customers and prospects an advertising campaign 
that can be made most effective from every point. 


BOOK PLATES 


Although there is only a limited call for book plate designs, yet 
inasmuch as almost every lover of books is interested in something of 
this kind for his own use, or as a gift to a friend, it is not out of place 
to illustrate a few examples, which are shown in Fig. 297. Most 
designs for book plates are intended to express some sentiment or whim 
of the owner, donor or recipient, the usual plan being to reproduce or 
to copy a rough sketch, or drawing, that may have been furnished by 
the customer. However, the commercial artist is frequently called 
on for a design of this kind or is asked to develop the idea of the cus- 
tomer. A sufficient number of prints is usually made from the plate 
not only to label the books possessed and to be acquired by the owner, 
but to permit exchanging with friends, following the fad among book 
lovers for exchanging and collecting book plates. 


BORDERS 


A specially designed border, if properly executed, will lend much 
to the attractiveness, individuality and finish of almost any magazine 
or newspaper advertisement, or other advertising design. The width 
of the border, the detail of the design and method of producing it must, 
of course, be governed by the purpose for which it is to be used. In 
Fig. 298 a number of specimens are shown, each indicating a general 
style which can be modified and developed in an almost unlimited 
number of ways. 

BUILDINGS AND BIRDSEYE VIEWS 


The picturizing of buildings may embrace everything from the 
front of a small retail shop to a drawing in detail showing every 
building in a city. ) 

Almost every retail merchant, jobber, manufacturer, selling organti- 
zation, or educational institution, has long made use of a view of his 
or their plant with the object of attracting the attention of patrons 
to their location or to convince them of their facilities. 


METHODS oF TREATMENT ell 


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Combination double print halftone and line etching on copper. Made from printed clippings, some of which had 
been rather poorly printed and which accounts for the roughness of the reproductions. Proofs from type were arranged 
fer double printing the key letters. 


Fig. 298. Specially drawn borders. 


12 COMMERCIAL ENGRAVING AND PRINTING 


These views are not only used on business stationery, for letterpress, 
lithograph and offset printing, but for advertising in newspapers, 
magazines, trade journals, circulars, booklets, catalogs, folders, cal- 
endars, etc. The views of the larger manufacturing plants, hotels, 
educational institutions, etc., are often reproduced in enlarged photo- 
graphs or by the photo-gelatin process and these prints are framed 
and distributed to customers and to others whose use of them makes 
them permanent and effective advertising. 

When only one or two small buildings are to be included and the 
location is such that they can be photographed successfully, the least 
expensive method of obtaining a view is by photographing and repro- 
ducing the photograph by halftone for letterpress printing. It is, how- 
ever, often impossible to obtain a good photograph of even a small 
building on account of the surroundings and other conditions, which 
interfere with doing the subject justice. 

Telephone and telegraph poles and wires, debris, and other objec- 
tionable matter of various kinds, that may appear in the original pho- 
tograph can be painted out, and the subject can be retouched by the 
engraver’s artist so as to present the desired appearance. It is also 
sometimes possible for the artist to add to the size of a building by 
extending the length or adding to the width or height by painting 
these additions in on the photograph. Signs may also be added or 
changed and in fact there is hardly any limit to the alterations that 


| 


Combination line etching on copper and double print square halftone, 150 line. The group is a combination of 
photographs and wash drawing from which the halftone negative was made. A line negative was made from the pen 
pak of border and stripped with the halftone negative. Proof from type was arranged for double printing the key 
etters, 


Fig. 299. Points of view. 


MetHops or TREATMENT 153 


Square finish halftone, 150 line, no line. The dark gray borders were drawn on a medium gray card and a halftone 
negative was made from this. Separate halftone negatives were made in required sizes from the originals of NA, NB, NC, 
ND, NE and NF and these were stripped into their respective places. Proofs from type was arranged for double printing 
the key letters, except ND, which was cut in the plate. Other key letters were outlined on the plate with a tool. 


Fig. 300. The data required and procedure in making 
a birdseye view drawing. 


may be made. However, when a great number of changes or addi- 
tions are necessary, it is usually more satisfactory to produce the view 
by making a drawing of the entire subject than to retouch the photo- 
graph. Usually the expense of a drawing will be lessened if the best 
possible photograph is obtained so that it may be used by the artist 
as copy to follow in making the drawing. 

The point of view may be a straight on front view, or a three- 
quarter side and front view as the eye would see it; a worm’s-eye view 


154. COMMERCIAL ENGRAVING AND PRINTING 


giving an exaggerated appearance in height, or a birdseye view from 
sufficient elevation to take in a limited area, or an airplane view taking 
in a wide scope of territory or a variation of one of these. In Fig. 299 
AGA represents a straight front view, AGB a straight side view, AGC 
a three-quarter view, AGD a distant view, AGE an airplane view, 
AGF a close-up three-quarter view, AGH a birdseye view and AGI a 
close-up front view. In making this group a toy house was photo- 
graphed for the five larger views and these photographs were trimmed 
and mounted on a gray card on which was drawn the smaller views 
and decorations. 

When several buildings are to appear in the view, it is usually 
impossible to obtain a satisfactory photograph, and a drawing is 
necessary. Conditions may, however, be such as to make it possible 
to obtain a photograph, that would include the entire view, from a 
nearby high building or elevation, or a specially constructed scaffold. 
Such a photograph, however, is usually disappointing when com- 
pared with a drawing, as in a drawing the buildings can be given 
prominence by eliminating and undersizing the surroundings, while 
this seldom can be satisfactorily done in retouching a photograph. 

The first step in the making of a birdseye view drawing is to obtain 
the data from which to make it. It is not always necessary that the - 
artist personally inspect a plant, or group of buildings, before making 
a drawing of it, although if conveniently located he may do so. In- 
expensive photographs, made by an amateur, of the different eleva- 
tions and a rough sketch of the ground plan on which is indicated the 
points from which the photographs were made, will supply the neces- 
sary data. In this way it is possible to obtain at a very slight cost the 
necessary data that otherwise would require considerable expenditure 
for artists’ time and traveling expenses. Only a very rough sketch of the 
ground plan is necessary, although, of course, distances as indicated 
should be sufficiently accurate to enable the artist to obtain proper 
location and size for the different buildings and other details that are 
to appear in the view. While accurate measurements are to be pre- 
ferred it is not necessary to take measurements with a tape line or 
rod, as they may be made sufficiently accurate by stepping. 

From these rough data the artist prepares a small preliminary 
pencil sketch, if the customer is undecided as to the point of view and 
general layout, or if the point of view has been decided a pencil layout 
is made in the size which the finished drawing is to be, and this is 
submitted for approval. Additions and alterations may be made at 
this stage at very little expense, and the customer will be able to deter- 
mine whether or not the general view is going to be what is wanted. 
After the approval of the sketch or layout, the drawing is finished and 
when approved is ready for reproduction. 

In Fig. 300 is shown in views NA and NB reproductions of photo- 
graphs showing two elevations, in NC the rough ground plan and in 
ND one of the blue prints furnished by a customer showing plant 
and proposed additions when ordering a birdseye view. In NE is a 
reproduction of the artist’s layout and in NF a reproduction of the 
completed drawing. 


mo 


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Metruops oF TREATMENT 155 


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Combination halftone and line etching on copper, 150 line. A pen drawing was made of the border and background 


on which was pasted proof from type of the key letters. Into the line negative from that copy was stripped the separate 
line and halftone negatives of the different views. 


Fig. 301. Building and birdseye view treatments. 


156 COMMERCIAL ENGRAVING AND PRINTING 


Copyright by The Aeolian Co. 
Outline halftone, 150 line. Made from print from a newspaper highlight halftone 14 inches wide. 


Fig. 302. A group view of headquarters and the several factories of an 
organization located in different cities but assembled in one drawing. 


Very often views are made of buildings or plants before they are 
constructed, or during construction; rough sketches, blue prints, 
written or verbal data being given to the artist from which to work. 

Drawings are nearly always made somewhat larger than the largest 
reproduction likely to be required from them, as it is an advantage to 
the artist to have the copy sufficiently large to work in detail easily 
and it also provides for loss of roughness in the drawing through reduc- 
tion in the reproduction. Ordinarily a birdseye view drawing is made 
in wash in black and white. A drawing made by this method is not 
only suitable for reproduction in any required size by the halftone 
process but is also suitable for reproducing by photographing, or by 
the photo-gelatin process, for framing, and by making fine or coarse 
screen halftone reproductions as required, they may be satisfactorily 
printed on almost any quality of paper. 

If the view is to be reproduced in colors by the halftone process 
the drawing should be made in colors. Then if it is to be reproduced 
for printing in one color, a photographic copy should be made, using 
a special plate and color filter to obtain copy from which to make the 
plate. Such a photograph will probably require some retouching to 
put it in proper condition for reproduction. 

When a view is to be used extensively for advertising purposes, 
it is advisable to have both a wash drawing, which may be reproduced 
by the halftone process for printing on the better grades of paper, and 
a pen drawing suitable for reproduction by the line etching process, 
for use on the lower grades of paper. The pen drawing is usually 
made much smaller than the wash drawing, so that there may not be 
too much reduction when reproducing for the smaller sizes. 

In the group shown in Fig. 301, views AKA, AKB, AKG, AKH, 
AKI, AKJ and AKM are reproductions from line drawings; AKC 
and AKK are from wash drawings; AKD and AKE are from un- 
retouched photographs; AKF is from photograph used for AKE 
after retouching and AKL is from an architect’s sketch. 


MetuHops or TREATMENT 157 


Owing to the wide variance in the detail and size of buildings and 
plants, it is impossible for any artist to name a fixed price for a drawing 
of this nature, without first considering all detail and possibly first 
making a rough sketch for the approval of the customer. The price 
in each instance depends upon the amount of time required to produce 
the work, rather than upon the size of the drawing. The time will also 
vary with the amount of detail, such as the number of stories, buildings, 
windows, etc., and how carefully they must be worked in. 

Old drawings can often be altered to show additions and altera- 
tions, although it is usually better to make new views, or make photo- 
graphic copies of the old ones on which the additions may be made. 

A first-class 8 x 10 photographic negative should be made of every 
wash drawing of such a view as soon as it has been approved, and a 
good print from this should be filed with the engraver from which to 
make reproductions that may be required from time to time. This will 
make it unnecessary to send the drawing back and forth each time a 
plate is needed, and thus not only avoid possibility of damage to the 
original drawing while in transit, but will be much more convenient 
and will make it possible to frame the original drawing for office use. 


BOOKS 


To obtain a striking and satisfactory view of a book is more difficult 
than it would appear, and if obtained through photographing, more 
or less retouching will usually be necessary before a satisfactory repro- 


Copyright Banihe Stafford Engraving Co., Indianapolis. 
Square halftone, 175 line, no line. Made from a wash drawing. 


Fig. 303. Birdseye view of Indianapolis, Indiana. 


158 COMMERCIAL ENGRAVING AND PRINTING 


JAA JAB JAD 


“JAH JAI JAS 


KAE : To KAR 


Double print square halftone, 150 line, no line. Views JAA to JAR, inclusive, are from unretouched photographs of 
the same book at same distance from camera, but in different positions, and all others are from printed clippings. Photo- 
graphs and prints were trimmed and mounted on large white card from which the halftone was made. Proofs from type 
were arranged for double printing the key letters. 


Fig. 304. Posing books and other rectangular solids. 


duction can be made. Owing to the color of binding materials, printing 
and stamping, to obtain correct color values when photographing it 
is sometimes necessary to use special plates and color filters when 
making the negatives, and then it may be necessary to retouch some 
of the detail that may have been lost or impaired, and it is nearly 
always found advisable to give added size or thickness to the book by 
retouching. In photographing to show at an angle in perspective the 
apparent loss in size, comparatively, is surprising and such a photo- 
graph will require considerable adding to by retouching to give it the 


MetTHODS oF TREATMENT 159 


size and thickness to make it impressive. In showing the front cover 
and thickness effectively it is well to photograph the front cover 
almost straight on, showing very little of the top thickness of the 
book in the photograph but adding this by retouching and adding as 
well the thickness of the backbone and the lettering on it. 


CALENDARS 


In the group of calendars reproduced in Fig. 305 are shown a few 
of the many possibilities that may be adopted in the making of special 
calendars to give them individuality and to make them an effective 
means of advertising as well as attractive and serviceable. The illus- 
tration for the back may be made up in any number of colors and of 
size to suit any requirement. Calendar pads may be obtained in almost 
every suitable size and printed in colors that will harmonize with almost 
any color scheme that may be adopted. 


COVER DESIGNS 


As the original covers reproduced in Fig. 306 were printed in many 
different colors, also on paper stocks of different colors, their real 
effectiveness cannot be shown in a one-color reproduction. These are 
details, however, that may be worked out by the designer and conform 
to conditions under which a design is being produced and the purpose 
for which it is to be used. The illustrations, nevertheless, will serve 


idiot OP NAOKO 9S Sseercencis 


ANA oy cee 
QUSLITY UNISOR METY- SERVICE 


6789101112 
13.14 1516 17 18.19 


2021222924526 


Double print square halftone, 150 line, no line. The several calendars were photographed on one negative and a 
photographic print from same was cut to give a separate photograph of each calendar. These prints were trimmed and 
grouped on a gray card. Proofs from type were arranged for double printing the key letters. 


Fig. 305. Individualized calendars. 


160 COMMERCIAL ENGRAVING AND PRINTING 


Fist fa 
Thad Cass 
ATP fatale 


What to dev . 
owithold fetie; 


STAVE 


FF 3 


Double print square halftone, 150 line, no line. Photographs were made of the covers and these trimmed and 
grouped on a gray background. Proofs from type were arranged for double printing the key letters. 


Fig. 306. Catalog and booklet cover designs. 


MeETHODS oF TREATMENT 161 


to show a number of different treatments and styles of drawing as well 
as display and arrangement of the text matter, etc. 


ENGROSSING 


The designing and execution of special certificates, testimonials, 
resolutions, memorials, etc., as well as engrossing the names and other 
matter on diplomas, charters and similar documents is a class of work 
often brought to the commercial artist. While such designs are often 
all hand-work, it is sometimes less expensive, where there is consider- 
able body matter, to set this in a suitable type, following a layout 
furnished by the artist, and leaving spaces for the prominent lines, 


Fn Memavian 


“Daptain dowrence 45. Bertsch 
RB "be guiding band for many yeara of Bertach & Company, and one of the master 
if inds of bia father’s family, was born a citizen of Cambridge City, Indiana, 
October 18th, 1879, and paid the debt of nature at @ashington, D. C., October sath, 
1918. Some five months before be offered his vervices to the Government in its war 
extremity, and wao given the rank of Captain and assigned to the Ordnance Division 
of the Gar Department, in- which service be died. 


fe ¢ not only served big country well, but at the same time kept in mind and in such =” 
t dose touch with the business of the Company with which be was 90 intimately 
associated, that we who are united with bis family in the relationsbip of business, and 

as stockholders, ows hia memory this tribute, 


Fis ¢ waa one of the leading officers of the Company, and bis discernment, industry, 

“Gikg extensive acquaintance, and manner of mecting men and inspiring their interest and 
confidence, brought a large and valued amoumt of business to hie Company. Especially 
was this esacntial to the auceesa of the Company in ita inception and through the 
early otages that marked ita transition from the old works with its inadequate 
equipment, to the new and present home with ito modern improvement. Much of thio 
progress can be attributed to Capt. Lawrence Bertach. 


| Oe ¢ was broad and liberal, with a mind sopeciafly trained in some of the bear | 
ic institutions of learning in this State and elsewhere. This gave bim unuaual 
capacity and efficiency which we atl recognize in the aplendid reauita of the yeare just 
Paat. Pity 'tis that he could not stay longer to enjoy with us the fruite of hie labor. 
sane ig e le who have known him intimatelp and who baye loved him realize the greatness of 
8 bar Binks ond Faery ther De ha: been re ; our loss, and bow in solenn oympathy with thove of his own flesh and blood. 
won 


be lst teed er foe shes oa Be : 
gic, 18 work bere ia finished, and we are bereaved by bis going, bur we are grateful for 
the legacy of noble example which he bao left to us. 


RESOLVED, That this tribute be placed upon the atockholdera’ minute-book, and 
that we, the officers and members, take due notice. 


5. L. McDanicte 
O. L. Callaway 
H.R. feemoter i 
i Committee | 
Square halftone, 150 line, no line. Made direct from Square halftone, 150 line, no line. Made direct from 
the original copy the size of which was 11 x 14 inches. the original copy the size of which was 12 x 15 inches. 
Fig. 307. Fig. 308. 


initials and decorations, which are drawn in by the artist in one or 
more colors, on the copy, or copies, printed from the type. The head- 
ing and names were drawn on the original reproduced in Fig. 307, the 
body matter was printed from type and the memorial was signed by 
the party presenting it. The portrait was an original photograph 
mounted on the memorial. The two lines of display at the top and 
the initials beginning each paragraph in Fig. 308 were drawn in colors 
and the remainder of the memorial was printed in black from type. 


ENVELOPE DESIGNS 


As the envelope offers special opportunity for the display and 
distribution of advertising, various methods of utilizing the space are 
in use—a number of which are illustrated in group as shown in Fig. 309. 


Pages 161 to 176, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


162 COMMERCIAL ENGRAVING AND PRINTING 


DALY ANS WEEK 


Coan 


Double print square halftone, 150 line, no line. The original envelopes were arranged as shown and mounted on a 
large card. This group was photographed and in retouching the photograph the edges of the envelopes were lined up 
and the postage stamps, post marks and addresses were painted out. Proof from type was arranged for double printing 


the key letters. act : 
Fig. 309. Envelope return card and advertising designs. 


MeETHOopbs or TREATMENT 163 


BURNING OFL8 anc OABOUNE 


PD 


ae, mypebeHeneocs 


Grano Rapios.Micn. April 21, 1919. 


Service Motor Truck Co., 
Bond & Michigan Streets, 
Grand Rapids, Mich. 


Gentlemen: 


We wish to express to you our unbounded 
appreciation of the excellent service your 2-ton has 
given ue. 

Thies truck was purchased last November, 
and up to April lst it cost us practically nothing for 
maintenance. This cost not averaging above $3.00 per 
month. 


We will be glad to give our opinion of 
this truck to anyone who is contemplating a heavy duty 
oar. 


Yours truly, 
GRAND RAPIDS OIL COMPANY, 


Line etching on zinc. 


Fig. 310. 


Puows Gnamwronry { 2398 


AMERICAN SHOW CASE CO. 


MANUFACTURER AND DESIGNERS 


STORE FIXTURES. CABINET WORK AND SHOW CASES 
YOR EVERY BUSINESS 


289-291-2933 GREENPOINT AVENUE 


BROOKLYN N V Mar. 13, 1919, 


The W L. Russell Co._ 
Boston, Mass. 
Gentlemen:- 

Replying to your inquiry, beg to advise 
you that we have been using a one~and one-half ton 
SERVICE Truck for our business for the last six 
months, and so far wa are well pleased with it. as 
it stands up to specification well, and are certain- 


ly pleased to recommend same to anyone 88 we would 


bay another of the same make, should we have occasion 


to use one, 
Very traly yours, 


American Show Case Co. 


Line etching on zine. Border line drawn around edge 


of original letter. 


Fig. 312. 


On, Go, cas 


3, AVERY & SONS 


¥ 


Pus 


PLOWS, PLANT! -LAGE IMPLEMENTS 
asaeadan Cte teh PrBveny Station t. Loursvitie, Ky. Apr. 16, 1919. 


Jacob Weber's Sons, 
Market bet. Jackson & Hancook Sta., 
City. 
Gentlemen:- 


We have your letter of April 14th inquiring 
&s to our experience with our two-ton Service motor truck. 


This truck has been in constant use without 
any lose of time for about seven months and up to date has 
been satisfactory in every way. Present indications point 
to a continuance of this good record. 

Yours truly, 
B. F. AVER sons, 


GH dere 


Mech- Rngineer, 


Combination vignette halftone, 150 line and line 


etching on zinc. 
Fig. 311. 


~ s J tsar 
Faowe Ganxvemoser | Et 


AMERICAN SHOW CASE CO, 


MANUFACTURERS 8Nn URRIENEHN 


STORE FINTORES, CABINET WORK AND SHOW CASES 
POR EVERY BUSINKSH 


RSO-2O1-NGS GREENPOINT AVENUE 
BROOKLYN, XY Mar, 13, 1949, 


The W, L. Russell Co., 
Boston, Meas. 
Gentlemen :- 

Replying to your inquiry, beg to advise 
you that we have been using @ one-and one-half ton 
SERVICR Truck for our business for the last six 
months, Sand so far we are well Pleased with it, ag 


it stands up to specification Well, and are certseine 


iy pleased to recommend sama to anyone, as we would 


buy another of the sama make, should we have occaeion 
to use one, 

Very truly yours, 

Ameriaan Show Case Co., 


Square-outline halftone, 150 line, with drawn line 


border. 
Fig. 313. 


Fac-simile reproduction of letters. 


FAC-SIMILE REPRODUCTIONS 


There are a number of methods of reproducing in fac-simile testi- 
monial letters, newspaper clippings, and other papers and documents 
of which plates for printing purposes may be desired. The method of 
reproduction, whether halftone, line, or combination of both, is largely 
determined by the nature of the copy and the use to be made of the 


164 


MELLETT & AUSTIN 
Wholesale Bakers 
211 Ean Twelfth Stren 


: Line etching on zinc. The original letter was inked 
in to make it black enough for reproduction, and the 
border line drawn around the edge of the sheet. 


Fig. 314. 


F, E. Weber, Manseer 


Merchants Truck & Transfer Co. 


216-18 East Market Street 
Genera) Forwarders Tolophones 
Draymen and Distributors A 1101 Main 79 
Rigging and Safe Moving Main 4588 


Los Angeles, Cal. 


April 26th, 1919. 


Service Motor Truck Co 
Mr Walter Ziegler, 
1719 S. Los Angeles St- 
Los Angeles, Cal. 


Dear Sir: 


We have now been using your Service 
Truck for more than & year, and we wish to say 
thet it is on the jog continuously, and that we 
are so very well pleased with the service it has 
been giving us that we highly recommend them to 
all truck users. The cost of maintenance of 
your truck is far below any other truck we have 
tried. 


Trusting that this good service will 
continue, and that you are enjoying ® prosperous 
business we ere 


Very traly yours, 


MERCHANTS TRUCK & TRANSFER CONPARY. 


: Maneger. 


Line etching on zinc. The border line and turned 
corners were drawn on the edges of the original letter. 


Fig. 316. 


COMMERCIAL ENGRAVING AND PRINTING 


vaore Guenrronmy {3208 


AMERICAN SHOW CASE CO. 


] |) MANUPACTUNERA AXD 


STORE FIXTURES, CABENET WORK At 
FOR EVERY BUSINESS 


REY-LO 1-2 GREENPOINE ANPNUE 


BROOKESN. N. ¥ Mar, 15, 1929 


The ¥. I. Roesell Co., 


Boston, Maes. 


Gentiemen:= 

eS Replying to your ings 

© yoo that we have teen using a: o: 
SERVICE Truck for our bueiness for the 
months, and a0 far we are well please 


At stands up to specification well, and ® 
: 2 


‘recommend sama to anyone, a@ we would 


Double print outline-vignette halftone, 150 line. A 
drawing was made to represent a plain sheet but showing 
the creases from folding. Halftone negative was made 
of this and double printed with line negative of letter. 


Fig. 315. 


manotnct 
« 


‘Pom 
prospect 9% 


EA 
MACHINERY 


LIGHT 
TRANSFERRING | 


AUTO OVERLAND WORK A SPECIALT 
118-120 EAST @eorais STREET 
anaroussito, So ath, 1928 491 
ino! D a 


Dear Sir:~ SERVICE 


firet 
In December of last year we purchased our 


te thet 
it in daily vee. with euob pstisfaotory resal 
potting 


4 8 second SERVICE jruok in galy 
xs heave been in constant 08e, 
wr makes Of Trucks, ¥e 
ICE} for dependability and 


Trock, of thie yesr- 


we parchsse and from oor 


Both Trac can conscientiously 


othe 


th several 
experience wt 
is! better then SERV. 


easy thet there is none 


economical operation. 
very truly yours, 
THR BAFRIS TRAUSFER COMPANY 


py Cc bees —— 


Combination line zinc and square halftone, 150 line, 
no line. Original letter was mounted on pen board and 
the border, decorations and references were added by 


drawing. 
Fig. 317. 


Fac-simile reproduction of letters. 


METHODS OF TREATMENT 165 


siLvenman SPOS: 


vauapnona evaga 2008 


Bushwick Glass Co- 


2opanns 3 
PLATE on 
pow 
fear GLASS 
BEVELED CLASS RNITURE 
ps ror FU in STREET 
ouass TO zuw-2it McKie 


wick AVENEM 


LIBERTY MOTOR CAR COMPANY 4 


DETROIT 


‘ , 
axt Bes paronse toler an08 


pnvunnys, Ne ¥-—— 


Irvin Bobbins & Co., 
Indianapolis, 
Int, Attention: Mr.Jemes 4,Daugherty, General Manager. 


Gentlemen: - 


q I om very pleased to sdvise you that we feel thet there io @ 
| considerable increased demand for closed bodies of the type whioh we have | q 


ordered frop you and that we, therefore, heve oonciderably increased the 
quantity whioh we have originally ordered and I beg to otate that me feel 
furthermore that the demand for closed bodies will continue the year round 


i{notead of in ueasone, eo in the pact, and we feel that you may expect con 
inetant ¥¢ tinued orders from us if you are able to give ue estiofectory terns and 
och ine® 
Gentienen: ar letter of the Lath q dclivery. 
in repiy to 9° service Truck ual We are greatly pleased aith the quality of the bodies which you 
ating @ one Tor iy have delivered to uo thie eenvon and we ere very pleased to note the | 
thet we are OPer oi improvenent in the quality of the workmanship which you have put into your 
peg to 867 atisfied- Pe product. 
and ere sell © gon truck \\ 
for six monthe market for # T° Wy de you know, the complaint which we have hed hee been that 
vne i 


Wo will be *P 


ke 
1 not ¢ rr ang other 5 
and wil 


ti you ore not able to give ue bodiee in oufficient quantities and I hope that 
onp ide) 


t 
ae you may be able to secure inorenued facilities, tn order that there may be | 
to} no further reasone for complaint upon our part. With inoreaved facilities 


ear futurn. 1 and proper prices, ¢ see no reason why you should not be able tq seoure 


in the 1 


— wa ample business to justify your plans of extension, j 
otter, 
pot the Service 9 will ansrer your } Guisoniiara mo doubt) eavieeds} there su/aletendiiy increas 
ing that thi | demand for closed bodies, People are beginning fully realize that a closed 
Hop body {0 euch more comfortable {n all seasons than en open body and especially 
eal ye gre they underetanding thet the closed body 18 ae cool in summer en an open 
pea to raaeit youre very 


body and, therefore, the one criticiem of the closed body heo been eatiafactori}; 
anewered by thenselves. Thie in iteelf te going to make the denand for 
closed bodies ever an increasing one. 


pUSFHICR GLASS CO 
4; spe Tautey ay, 


LIMERTY MOTUR Cyy CO-PamY 


WILL NOT CONSIDER ANY 
OTHER MAKE BUT THE 


SERVICE 


Line etching on zinc. Copy prepared in same manner 


: Line etching on zine. Copy prepared in same manner 
as for Fig. 317. 


: as for Fig. 317. 
Fig. 318. Fig. 319. 


IZS Ont GO. 


Aoren Cars 


oF BOS8 OA 


Foont,Micw. duly. 29, 1919. 


Irvin Robbins & Company, 
Morrig & Division Ste., 
Indienapolis, Indians, 


Gentlemen: Att, of Mr. Daugherty, 
Jacob wober’® Soorket Ste g | 
623 Be Yr 4 ean, Bade Fes aa 21 ia recetved in angwer 
O OUTB 0: 8 , Fegarding en additional 
; of the 14th+ 4 f quantity of closed bodies and you do not soem i 
Gentlemen: your anquiry 3 | to feel very certain as to whether or not you 
qn reply vo ton Service 4 should take on an additional order with the j 
peer woing & two gnee #nst- ! idea of making deliveries within three or four H 
we mere nave hed no oxmgroable- months, ! 
qruck f0F apout ce not giving thet truck, FOX iH 
8 


sore, 
trae on eome. x market fo It is true that wo have parchssed closed 


pene from two sources but we-placed on order 
q a hy 3 
Uf way we ey JOOTB a p gddition to the one with your company be 


—— 


x co cause we wanted to be sure of getting enclosed 

m 3C Nt é | bodies ot the proper timo and wa felt that we would 

BY -W. g H surely be taken cure of by one of two sources, **** 
t It is not our idea to continue purchasing bodies 

3 from two cources as this is not purchasing to the 

} beat of sdvantare and now that ve sre familisr 

with the kind of work thu t you are turning out, 


wa feel perfectly satisfied in buying closad 
bodies from your company. 


The work you have done ig quite satisfactory and 
Fe will seriously oonsiter plact gn additional 
order with you provided you ere zble to ative us 
deliveries as required. 


You have not said anything in your letter regurd— 
4 three passenger coupe bodies and we would 
like to have ‘you alvige us wh.t you cin do on 
fifty of these boties. 


Yours very trely, 


We As Pale. On CO, 


Purdheting Derartment, 


Combination line etching on copper and outline- Combination line etching on copper and outline- 
halftone, 150 line. Copy prepared in same manner as halftone, 150 line. Copy prepared in same manner as 
for Fig. 317, mounting photograph of truck in connec- for Fig. 317. 


tion in addition. 
Fig. 320. Fig. 321. 
Fac-simile reproduction of letters. 


plate. The different methods may also be elaborated on to obtain 


more striking and effective results if the purpose for which the plates 
are to be used will warrant the increased expense. 


166 COMMERCIAL ENGRAVING AND PRINTING 


PADDELFORD is 
CONTRACTORS 


KING 


Wo Wo TATED SdDN 


Coxcrern Coxtricro 
AQuUNey, MLCME By. 


Storms Mfg. Co. 

Crawfordsville, Ind. 

ntlemen 

[ am in receipt of your letter aaking wi 
think of the Storms One Man Collapsible Culvort 
{ am now using them in building concrete culverts on the 
Chicago and Detroit pike, I cover the top plank with ter 
building paper so 1t will drop down nice and clean shea 
the frames are removed, which requirea not more than five 
winutes time. It makee @ culvert porfectly straight and 
true vo 11ne and eaves me 6 great deal of time, lumber and 
worry. You deserve succose 
Truly youre, 


BOR Oh om fro 


Line etching on zinc. The original letters were grouped and mounted as shown, and the outlines and shading then 
added by drawing. 


Fig. 322. Grouping to conserve space. 


HAA 


Wes Witten AEAt-o7 Sévevmade 
HA 


B 
Do off Wd Calijerrla 


~ HAC 


HAH att 


Line etching on zinc. Made from group of printed clippings. Proofs from type for key letters were pasted on the 
group. 


Fig. 323. Fac-similes of characteristic marking styles. 


As explained under Line Drawing, letters written in longhand or 
with the typewriter seldom permit of reproduction without special 
preparation. The size of such reproductions is determined largely by 
the use to be made of them. Legibility is usually the first considera- 
tion, if the reproduction is to be made smaller than the original copy, 
and if the available space is limited. In making enlargements of such 
copy for display purposes, a drawing of larger size than the reproduc- 
tion is to be made is advisable, since a reproduction by direct enlarge- 
ment of the original copy would probably be rather rough. When 
preparing newspaper or magazine clippings for reproduction, altera- 
tions are often made to make the more essential features as effective 


MetuHops oF TREATMENT 


enecKk tor $50 from William R. Secacr;,| Mrs. 
manager of the Hotel Lincoln. 


Mr 
s retus 
= ADVERTISING IN 1920. Gaylo 
oon ri ae Se Milfo 
jeg | Predicted at Convention That New aren 
cal Record Will Be Set. home 
lis] LAKEWOOD, N. J., December .5.—|holid 


ra}A new record for money spent in ad-|riag 


dy,| vertising will be made in 1920, mem- |Catb 
>’ |bers of the Association of National] Cheat 
din Advertisers, who are in convention] Whicl 
¥’.| here, predicted. The delegates repre-|of th 
sent firms which spent $115,000,000 in| at 4 
advertising this year. Increased con-|rela 
*nds|sumption rather than decreased pro-|in Jt 
ver | duction’is responsible for the manu-| dent 
of facturers’ failure to meet demands]isS a 


for their products, it was said. the i 
en Mr 
, nd Huff-Hurst. the 
use \ this 

| [Special to The Indianapolis News] lev 


Line etching on zinc. Made from clipping from 


newspaper. 
Fig. 324. 


bis Tbe ulY 


. ' «ARAL Oe 
(Lael VERSA Wiphrain Ry St 


| Mrs 

/ GCeT of the} Q T.jzgoin. ty 

: ] 2 retuy 
ADVERTISING IN 1920. Gayla 

oon ee Milfo 
ee Predicted at Convention That New pi 
al Record Will Be Set. _ ghome 
his|_ LAKEWOOD, N. 5, December .5.—|20N9 


ra|A new record for money spent in ad-friag 


dy,| vertising will be made in 1920, mem- fCath' 
din| Bers of the Association of National JCheat 
in| Advertisers, who are in convention {whic 
@. I’.|here, predicted. The delegates repre- fof t 
sent firms which spent $115,000,000 in fat 44 
advertising this year. Increased con- }rela 
ends/sumption rather than decreased pro-|in J 
ver | duction is responsible for the manu- fdent, 
of facturers’ failure to meet demands |is a 


for their products, it was said. the 
ac- ener prerrrrrrerernsnmsnasnsene fj 
Rts M 
EDS Huff-Hurst. _}the 


ALISE bthis 
Ba {Special to The Indianapolis News : ; 


Combination double print outline halftone, 150 line, 
and line etching on copper. The longhand notation and 
border line with shadow were drawn on the copy and 
negative from this was double printed with negative of 
plain halftone screen. 


Fig. 326. 


check for $50 from Will: sf 
manager of the Hotel Lincoln. 


ADVERTISING IN 1920. 


Predicted at Convention ‘hut 
Record Will Be Set. 
LAKEWOOD, WN. J., December 5-— 
A new record for money spent in ud- 


vyertising will be made in 1920, mem-|©2 


bers of the Association of National 
Advertisers, who are in convention 
here, predicted. The delegates repre- 
sent firms which spent $115,000,000 in 
advertising this year. Increased con- 
Sumption rather than decreased pro- 
duction is responsible for the manu- 
gaeturers’ failure to meet demands 
for their products, it was said. 
ssenneranconmneoomaenamnsereceatrevenvend fetes -ntueee-waeuegunrensenen a 


Haff-Hurst. 


“pecial to The Indianapolis News 


Among the gifts at the frolic was a 
check for $50 from William R. Secker, 
manager of the Hotel Lincoln, 


ADVERTISING IN 1920. 


Predicted at Convention That New 
hal Record Will Be Set. 


lis LAKEWOOD, N. J., December 5.— 
ra|A new record for money spent in ad- 


dy, | vertising will be made in 1920, mem- 
ae bers of the Association of National 
Advertisers, who are in convention 
I".| here, predicted. The delegates repre- 
sent firms which spent $115,000,000 in 
advertising this year. Increased con- 
sumption rather than decreased pro- 
ver | duction’ is responsible for the manit- 
of facturers’ failure to meet démands 
for their products, it was said. 
ee ee 


Huff-Hurast. 


{Special to The Indianapolis News] 
CORYDON, Ind., December 5,—,&% 


Line etching on zinc. Made from same copy as used 
for Fig. 324, but including date line and pen drawn 
outline additional. F 

Fig. 325. 


cneck tor $56 trom Winam R. Secncr;} Mtss 
manager of the Hotel Lincoln. Mr 

: Be AD 

; retyy 


ps ADVERTISING IN 1920. (3 
ven Milfo: 
\es| Predicted at Convention That New| {iPS 
al Record Will Be Set. home 
lis|. LAKEWOOD, N. J., December 5.-—} 
ra/A new record for money spent in ad- iyi 


Ay,{| vertising will be made in 1920, mem- |: 
ai bers of the Association of National} 
Rl} Advertisers, who are in convention f 
Hj) here, predicted. The delegates repre-| 
sent firms which spent $115,000,000 in} 
‘ advertising this year. Increased con- 
n@S}sumption rather than decreased pro- 
ver | duction is responsible for the manu- {¢ 
of | faeturers’ failure to meet demands | 
i for their products, it was said. 


 cssanmneeneheeeteneensaneenneenttlin” aunmemmmnanemmemenanentanmadl 


aoe 


Double print outline halftone, 150 line. Made from 
same copy as used for Fig. 324, but the line negative was 
double printed with a halftone negative of plain screen. 


Fig. 327. 


_ MOVE TO SAVE PAPER. 
| Western Publishers Propose Ban on 
i Comie and Magazine Sections. 
| KANSAS GITY, December 5-—-The 
| government was requested, either by |i 
flesislation or by an executive order |] 
|of the postoffice department, to for- 
tia the issuance by newspapers of 
comic supplements ands magazine 
sections, aS &@ means of conserving jj 
print paper, in resolutions adopted 
by publishers from Kansas and Mis-. 
sourl. Copies of the resolutions were 


forwarded to  Postmaster-Geneéral |, 

Burleson and. the members of the} 

congress from the two states, 
sereteenesennenmnamnnenseateansanemnnan-sirnenesrenanannamenmnt acne 


Square halftone, 150 line, no line. Clippings were mounted on a dark gray background. 


Fig. 328. 


168 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 150 line. Made from retouched photograph. The pieces were grouped and photographed 
as shown. The photograph was slightly retouched and the vignette painted on. 


Fig. 329. Folders, broadsides and mailing cards. 


as possible, by patching to obtain more suitable adjoining matter, 
closer proximity to date line, the omission of nonessential matter or 
other changes that may be desired. 


FOLDERS, BROADSIDES AND MAILING CARDS 


These are popular forms of advertising and there is practically no 
limit as to the attention-getting features that may be developed 
through the use of different kinds, qualities and colors of paper stock, - 


46,786 lines 
44,440 tees 
33,036 lines 
« 24,993 fnen Reakes 
CLUREB 


HEARSTS COSMOPOLITAN METROPOLITAN AMERICAN ME 


HOW COLLECTIONS AND SALES AGREE 


INU 


DOWNTOWN 


DISTRICT 
is 


3 


vise HALT 
ne 
TN 
TNS 


HN 


Ry 
RY 


AXX AXY AXZ 


Line etching on zinc. Made from printed clippings on which had been pasted proofs from type of the key letters. 
Fig. 330. Comparative charts. 


Metuops oF TREATMENT 


First Pri “LZ@ 


ALP 


Good taste guidin 


ALQ 


C four g of our buyer 


Canama 


ALR 


Crane's nen lawn 


ALS 


Who ts Letter-L2 fect ln 


ALT 


Prerticularly accepta 


ALU 


eet iie li Von 


ALV 


(Frank Waterhouser 


ALW 


(he daintiness of 


Fifth Avenue Jvew 6 
The Watch with the 


AMA 


We invile mail orders and 
Softest antelope leather~ 
Costumes Jailleur 


AMD 


Gorham Sterling Silve 
ron LR: ings C 


‘Che Most Seautful mn 


Ohree ‘Lacher Girls 


Vanily Jair 


AMJ 


GilbatS Washburn 


Wouldn't you like 
for Those. Who [now 


Your boy needs a 
Exclusive Villinery a 
“Greena A C freshness 
Ready for Emergen 


AMQ 


The Aluminum Six F 
eA Real Dor sformer 


AMS 


PIERCE-ARRO 


AMT 


HIGHWAY CAR 


AMU 


CIGARETTE SE 


AMV 


GRENOVILLES 


AMW 


WEDDING GIFTS-IIustr 


AMX 


pv lpia 7A Ore 


AMY 


HAVE DECIDED VP 
DIAMOND GRO 


ANA 


169 
CRESCENT ROUTE 


UNDERWOOD D 
MODERN ART 


AND 


HOLEPROOF C 


ANE 


Lithographs 
Stephens Motor C 


To your favorite Farts 
ANH 
lis use and enjoyments 


ee eee 


ANJ 


Paris Importations 15 


ANK 


For Everywhere 


ANL 


Where to Live t 


ANM 


Well Rally’Round T 


ANN 


Peanut Butte 


ANO 


Keep Within the La 


ANP 


The judgment of 


ANQ 


GraG@lnecicmiep 


ANR 


St. Patricks Cathedral 16 


New [ork Gallecies 8 


Line etching on zinc. Printed clippings of the several styles were selected and to obtain pe. uniformity 


in size the odd sizes were photographed, some being reduced and some enlarged in size. These photographic black and 
white prints and the original prints of usable size were then grouped and retouched as required. Proofs from type of 
the key letters were pasted on the group, which was reproduced in one plate. 


Fig. 331. Drawn lettering. 


the size of page, manner of folding, layout of text and illustrations, 
number of colors in which they may be printed, manner of trimming, 
etc. In addition to those shown in Fig. 329 a number of suggestions 
for folding will be found herein, under Letterpress Printing. 


Pages 161 to 176, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


170 COMMERCIAL ENGRAVING AND PRINTING 


GRAPHIC CHARTS 


For visualizing comparisons some form of graphic chart is often 
used and a few suggestions of some of the methods used will be found 
in Fig. 330. Comparisons may be further emphasized by printing in 
more than one color. 

HAND LETTERING 


An individuality and attractiveness may be had in hand lettering 
that it is impossible to obtain from printer’s type, which of necessity 
must be handled in a more or less mechanical way and within certain 
limits. Hand lettering is not only extensively used for the main lines 
in the best display advertising, but often also for short paragraphs of 


< ATRine SicveR Srezc SAn5— 


AYD 
DOCK A OAM. Our Boys AS.OF38.88 
AYE 
We RustnesiCducaisr ® 

AYF 


AY' 
" SARE LUS ERE ERTS NIT RITE RAEI REESE Ags 
L REMINGTON Notes  u¥ 
Raa: ee ae 


Te 


AYR 


Mealology ri 
AAO Ry AE MERE 


AZG 
ss AYU GE” Wheretolive, RY 
® YELLOWSTONE PARK # ee 
; AZH : 


AYV 


Double print square halftone, 159 line, no line. The printed clippings, some of which were from halftone and the 
remainder from line plates, were arranged as shown and this group was photographed. The photographic print was 
retouched to eliminate the edges of the clippings and to get background of uniform color. Proofs from type were arranged 


for double printing the key letters. ; ; 
Fig. 332. Page headings. 


text in connection, thus giving the matter a distinctness and appear- 
ance that greatly increases its advertising value. It is usually made 
in line drawing and reproduced by line etching, but it is also frequently 
made in wash and reproduced in halftone, and very often a combina- 
tion of both line and wash is used. 

There are unlimited’ opportunities for original combinations of 
hand lettering in connection with designs, and illustrations, as style, 
form and size may be made to conform with any special need. 


HEADINGS 


In the making of booklets, catalogs, and other printed matter, often 
headings of special design in line, wash, or combination are made for 
the embellishment of the beginning of chapters, departments or for 


MetruHops oF TREATMENT lezall 


Thy \l \RMON NEWS 


Square halftone, 150 line, no line. Made from retouched photograph. The pieces were grouped as shown and then 
photographed. Photographic print was slightly retouched—outlines were strengthened, shadows added, etc. 


Fig. 333. House Organs. 


the top of pages. Usually the same general idea is carried throughout 
for all, but is modified to fit the spaces allotted and to suit the titles, 
which are usually hand lettered in connection. Just a few of the many 
ideas utilized for these purposes are shown in group Fig. 332. Page 
headings are often made in pairs, one for the left and another in which 
the same design is modified so as to balance and harmonize when used 
on the right. 


Double print square halftone, 150 line, narrow gray border. Prints from line and halftone plates were placed as shown 
and this group photographed. The negative was blocked out and the photographic print trimmed and mounted on a 
gray card. Photograph was slightly retouched. Proofs of type were arranged for double printing the key letters. In 
trimming the halftone enough of the gray card used for the background was allowed to remain on the plate to form 
the border. 


Fig. 334. Initial suggestions. 


12 COMMERCIAL ENGRAVING AND PRINTING 


THE HOUSE ORGAN 


These are publications, usually in booklet, pamphlet or magazine 
form, published periodically by firms or other organizations. They 
are intended for the distribution of news items, information and other 
matter designed to promote interest, good will, patronage, etc., from 
customers, prospective customers, among salesmen, employees or 
other special classes that it may be desired to reach. The house organs 
published by some firms are quite elaborate in illustration, makeup 
and text, while those published by others are less pretentious. As in 
the production of other printed matter there is opportunity to meet 
any requirement as to cost, by a variation in the size, kind of paper 
used, number and character of illustrations, number of colors in which 
it is printed, quantity, etc. 


INDIVIDUALITY IN THE WORK OF ARTISTS 


The work of many of the prominent artists and illustrators has an 
individuality which is expressed in the character of their lines or the 
manner in which they render the majority of their compositions, 
although their work in general may be more or less versatile in style of 
treatment. Naturally, the services of an artist who has developed a 
distinctive style to such a high state as to attract wide attention, 
commands liberal remuneration for his work. 


INITIALS 


There is probably no kind of embellishment for the page of type 
matter that is more used or in better form than the initial. In the 
group shown in Fig. 334 are illustrated a few suggestions ranging from 
the plain letter to the ornate, most of which can be adapted to printing 
in more than one color if so wanted. 


KALOGRAMS 


Kalograms have the appearance of a monogram, but instead of 
being made up of only the initials they include the letters of the entire 


RITY 
OUK 


ROY COOK 
NG 


Line etching on zinc. Made from pen drawings. 


Fig. 335B. Kalograms. 


surname and often the given name and middle initial as well. The 
letters of the name are arranged in a readable manner to suit the fancy 
of the designer and they may be used for personal or business station- 
ery, trade-marks, on book plates, etc. They may be made in line 


MetuHops oF TREATMENT Tes} 


Double print square halftone, 150 line, no line. The several letterheads were photographed on one plate. The photo- 
graphic print from that negative was cut to produce a separate photograph of each letterhead and these prints were 
grouped as shown. Proofs from type were arranged for double printing the key letters. 


Fig. 336. Types of letterheads. 


etching from pen drawing or halftone from wash drawing for letter- 
press printing, or engraved on copper plate or steel die for copper 
plate printing, or steel die embossing. 


LETTERHEADS 


There is no question but that an attractive and well designed let- 
terhead, whether it has been printed from type or from a line etching 
made from pen drawing, from halftone from photograph or wash 
drawing, lithographed, steel die or plate, or by whatever method pro- 
duced, is a valuable asset to any establishment seeking business or 
endeavoring to create a favorable impression upon correspondents. 
A reasonable initial outlay for a suitable and satisfactory design will 
prove a good investment, and while the range in design is unlimited it 
must be kept in harmony with the line of business it is to represent. 
Various types of letterheads are shown in Fig. 336, without reference 
to designs. Small and large note sheets are represented in LAA and 
LAB; half-sheet of ordinary letterhead size, horizontal and vertical 
in LAC and LAD; two-thirds size sheet in LAE; two-fold size in 


174 COMMERCIAL ENGRAVING AND PRINTING 


JAN 23% Cold 


Line etching on zinc. Made as one plate from printed clippings mounted as shown. 


Fig. 337. Logotypes. 


LAF and LAG; regular letterhead size in LAH, LAI, LAJ, LAK, 
LAL, LAM and LAN, and four page letter-circulars in LAO and 
LAP. These same illustrations also suggest border treatments and 
the location of illustrations on the sheets. 


LOGOTYPES 


These are combinations, in any size, of two or more letters, or 
words, on one base and are used largely for calendars, railroad time 
tables, admission tickets and other kinds of work in which such com- 
binations are frequently repeated. They may be casts from a com- 
bination of type characters or from a reproduction of a specially 
drawn design, such as a trademark or a tradename design. When 
made in quantity to be used in connection with body type, special 
care must be exercised in determining size and manner of mounting 
that they will properly line up with type when set with it. 


PORTRAITS 


While a very large number of the portraits that are reproduced by 
the halftone process are made in square finish halftones, because this 
style of finish is least expensive, this style is also, no doubt, often 
selected because the buyer is unfamiliar with the possibilities that may 
be developed by the engraver’s artist in providing a suitable setting 
for the portrait, when only an ordinary photograph is submitted for 
reproduction, and when the expense of something more ornate or 
striking, than the plain halftone would be justified. 

The methods of treatment illustrated in Figs. 338 to 401, inclusive, 
show some suggestions especially adapted to handling this class of 
subjects, and which, in many instances can also be applied to other 
classes of work such as interior and exterior views, landscapes, etc. 
Details may, of course, be varied to meet requirements and in ordering 
it is well to give both width and height, screen, width of border, if any, 
etc., as well as figure number. It is seldom necessary to make plates as 
small as shown by the illustrations herewith, and they should always 
be made sufficiently large to be impressive and in harmony with the 
text or other matter with which they are to be used. Many of the 
combination styles shown can be made in large sizes at less expense, 
by making a line etching on zinc of the border or decoration and tacking 
the halftone in it, instead of stripping the line and halftone negatives 
together and etching the combination. 

All styles excepting square finish, with or without line, call for an 
extra charge above the prices named on the standard scale of prices 
for photoengraving, this extra charge being for the special work in 


Pages 161 to 176, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


Metuops or TREATMENT ie) 


Square halftone, 150 line, noline. Square halftone, 150 line, with line. Square halftone, 150 line, with 
white border line. 
Fig. 338. Fig. 339. Fig. 340. 


Square halftone, 150 line, with Square-outline halftone, 150 line. Oval halftone, 150 line, no line. 
line. Background routed out. Head and shoulders outline, bust 
. square. ; ; 
Fig. 341. Fig. 342. Fig. 343. 


Oval halftone, 150 line, with line. Oval halftone, 150 line, with line. Outline halftone, 150 line. Head 
Background routed out. and shoulders outline, bust oval. 
Fig. 344. Fig. 345. Fig. 346. 


All halftones on this page and page 176 were made from an ordinary square photograph, and the special effects were 
obtained in finishing the plates. 


176 COMMERCIAL ENGRAVING AND PRINTING 


ie 


Oval halftone, 150 line, with Outline halftone, 150 line. Head Outline halftone, 150 line. Square 
double line border. only. with edges nicked. 


Fig. 347. Fig. 348. Fig. 349. 


Circle halftone, 150 Halftone, 150 line, with Square halftone, 150 line, Square halftone, 150 line, 


line, with line. line. Elongated oval. with line. Panel effect. with line. All sides equal. 
Fig. 350. Fig. 351. Fig. 352. Fig. 353. 


Square halftone, 150 line. With Square halftone, 150 line. With Square halftone, 150 line. With 
two-point black border line. _ double line border. six-point black border. 
Fig. 354. Fig. 355. Fig. 356. 


The white lines between the backgrounds and the black border lines on all plates on this page, and page 175, were 
cut on the plates, it being customary with all engravers to finish plates of these styles in this way. 


Metruops oF TREATMENT haere 


Square halftone, 150 line. Special Square halftone, 150 line. Special Square halftone, 150 line. Special 
hand-cut border. hand-cut border. hand-cut border. 
Fig. 357. Fig. 358. Fig. 359. 


Square halftone, 150 line. Special Square halftone, 150 line. Special Square halftone, 150 line. Special 


hand-cut border. hand-cut border. hand-cut border. 
Fig. 360. Fig. 361. Fig. 362. 


Square halftone, 150 line. Special Combination square halftone, 150 Combination square-octagon half- 
hand-cut border. line, and line etching on copper. tone, 150 line, and line etching on 
Background routed out. copper. 
Fig. 363. Fig. 364. Fig. 365. 


Line drawings were made of borders on Figs. 364 and 365 and the halftone negatives of the portraits were stripped 
into the line negatives of the borders. 


Combination square halftone, 150 Combination square-diamond half- _Combination oval halftone, 150 
line, and line etching on copper. tone, 150 line, and line copper. line, and line etching on copper. 


Fig. 366. Fig. 367. Fig. 368. 


Combination square-outline half- Combination square halftone, 150 Combination square-outline half- 


tone, 150 line, and line etching on line, and line etching on copper with tone, 150 line, and line etching on 
copper. panel for name. copper with panel for name. 
Fig. 369. Fig. 370. Fig. 371. 


Combination oval halftone, 150 Combination square halftone, 150 Combination oval halftone, 150 


line, and line etching on copper. line, and line etching on copper. line, and line etching on copper. 
Fig. 372. Fig. 373. Fig. 374. 


The vertical lines in background of Fig. 366 were obtained by the use of the shading machine on the print on metal 
before the plate was etched, and the mottled effect in the border of Fig. 374, by spattering white ink on the drawing. 
A line drawing was necessary for each border. 


Metuops or TREATMENT 179 


Uf UUM, 


SI LiiELIIIIEILILLILTI 


SS, ~ . .  ~ e eC. °°, 


) 

ee 
Yy 2 
TZ77da | | 

Combination outline halftone, 150 Square halftone, 150 line, with Square halftone, 150 line, with 
line, and line etching on copper. The gray border. gray border and black finishing line. 
shading machine was used on border. : 

Fig. 375. Fig. 376. Fig. 377. 


Square halftone, 150 line, with two- Square halftone, 150 line. Gray Square halftone, 150 ue Gray 
tone gray border. border with decoration hand cut on border on which decoration was 
plate. drawn in white on the copy. 
Fig. 378. Fig. 379. Fig. 380. 


wy. 


_ Outline halftone, 150 line. Nega- Oval halftone, 150 line, with gray Outline halftone, 150 line. Special 


tive of portrait stripped into the border. gray segment background. 
one-way screen negative of border. 
Fig. 381. Fig. 382. Fig. 383. 


Kach of the portrait photographs reproduced on this page, except for Fig. 375, was trimmed to the shape shown in 
the reproduction and mounted on a gray card with sufficient margin on which to draw the decoration, or to provide the 
gray border when the plate was trimmed. 


180 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 150 line, no line. Square halftone, 150 line. Black Square halftone, 150 line. Gray 
Gray panels at top and bottom. and gray border. border with decoration drawn in 


dark gray and white on copy. 


Fig. 384. Fig. 385. Fig. 386. 


Square halftone, 150 line. Special Square halftone, 150 line, no line. Square halftone, 150 line, no line. 
drawn gray border. Special drawn gray background. Special drawn background. 
Fig. 387. Fig. 388. Fig. 389. 


Outline halftone, 150 line. Made Square halftone, 150 line, no line. Outline halftone, 150 line. Made 
direct from framed photograph. Made from photograph mounted on from a photograph mounted with a 
a paper made to imitate leather. design in line drawing. 
Fig. 390. Fig. 391. Fig. 392. 


Pages 177 to 192, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


MetHops oF TREATMENT ) 181 


Square-outline halftone, 150 line, Square halftone, 150 line, no line. Combination outline halftone, 150 
with gray outline, which was painted Decoration was painted on the photo- line, with line etching on copper. 
on the photograph. graph. Black outline was drawn on copy. 

Fig. 393. Fig. 394. Fig. 395. 


Square-outline halftone, 150 line, Outline-vignette halftone, 150 line. Outline-vignette halftone, 150 line. 
with line, but no white line cut Head and shoulders outline, bust Top of head outline, vignette bust 
between background and border. vignette. and over shoulders. 

Fig. 396. Fig. 397. Fig. 398. 


Vignette halftone, 150 line. Full Outline halftone, 150 line. Coat Outline-vignette halftone, 150 line. 
vignette. painted in on photograph and special Hard vignette. 
tooling on plate. 
Fig. 399. Fig. 400. Fig. 401. 


Each photograph reproduced on this page required special treatment by the artist before the reproduction was 
made from it. 


182 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 407. Fig. 408. 
Some methods of treating portraits in line drawings. 


Metuops or TREATMENT 183 


ANVILLE 
SERVICE 


SEPT. Greli-?tSt 


Double print square halftone, 150 line, no line. Proofs from type were arranged for double printing the key letters. 


Fig. 410. Poster stamps. 


: ALA 
RERRRORE PDE 


The Wagner Fark Nursery ©), 


ALD 


: : te Sucinal Cosh Meghrer Oy, 
; = S Bayon ORG, LL. 


NEE, 


Double print square halftone, 150 line, no line. Proofs from type were arranged for double printing the key letters. 


Fig. 411. Shipping labels. 


184 COMMERCIAL ENGRAVING AND PRINTING 


“DWARDS PLUERIBBON 
Eaeamaneey Devt Berssine 


ABY ACJ ACW 


crys Office Siore JRP-A- GOOD/-YEAR 
SAXON S] ».4 Cu ie cr ope fore ACX 
ABN 


The ichards Wilco 
presgecrorr Mobiloils eq “AlrRMORE Richards Wilcox 


ACY 
‘ ) ; Acinoh Constable & Co. 
eli Pi Aezrroay *bonmoutte PStaes 
vielin Sano ©, DUPLICATOR VMOU soe 
ABD oes Ae ACB Babel CORON 
Tre Produclopraph Ce aRG Onipan A 
ire BE is oA pian, ne 4 STEIN’ WAY Faca, Crack pare 


ACN 


ACL 


GimbelBrofhers 9 A\ aes 
bel Br ARROW lity ain may ere 
aoe COLLARS KISSELKAR ACO HYATT 
A aioe J Stern Brothers 
Gewart Stewart dn 
: eS Spi ays at 37 STeEE THE [UFKIN | POLE Ca. ADD 
Maxell 
ae | MENNENS Lord & Taylor 
DO-RO-NO ) iss 
Ae eet te me mao : 
\ ORS O By xGntte: WAGathamnde 
FINE PHOTOGRAPHS. ate ad ee 62 West 45% Street - NewYork 
ABV Ri nex GABRIEL fe 
ner cougate’s HINCX SNUBBERS Cfyxedo 
KlearflaX Ags ate AD 
LINEN RUGS OUANLEYS >SREARS< LZ oomwvemGunse6 
ABX | ACV 


Line etching on zinc. Entire group made as one plate. Made from printed clippings, some of which were retouched, 
some photographed to proper size and then retouched and others were reproduced without retouching. The final copies 
were arranged in the order as shown and proofs from type were pasted on for the key letters. 


Fig. 412. Signature and special trade name designs. 


finishing the plate, or the artist’s time required for the special prepara- 
tion of copy, or both, and the amount is determined by the amount of 
workman’s time required. 


POSTER STAMPS 


These are oftentimes used for giving general publicity to some 
event, article or firm, and they may be printed in any number of 
colors by letterpress, offset or lithograph on gummed or ungummed 
paper. Usually it is not practical to print a small quantity of a single 
design, or a few designs, as the cost will be out of proportion to their 
advertising value. The most practical method is to produce them in 
sheets in large quantities, the sheets being perforated so that the 
individual stamps may be readily torn off for use. In making the 
plate for Fig. 410, the original poster stamps, many of them printed 
in several colors, were grouped on a gray card. A photograph, using 
special color plate, was made and this photograph was slightly 
retouched and shadows added with the air brush. 


Metuops oF TREATMENT 185 


SHIPPING LABELS 


Every firm that delivers or ships its product should be provided 
with a specially designed shipping label. Its use provides a form of 
inexpensive advertising, the only outlay being for the original cost of 
the design and plates for printing, as the cost of printing is no more 
than if a type form is used. As with all other work of the photo- 
engraver, there is no limit as to the designs that may be developed for 
this purpose and they may range from a simple design printed in one 
color to anything as elaborate as the appropriation of the customer 
may cover. The size should be such as to be practical for the package 
to which they are to be attached and they may be printed on either 
gummed or plain paper. The plate for Fig. 411 was made from a re- 
touched photograph, the original labels having been grouped on a 
white card and then photographed. The photograph was retouched to 
eliminate the addresses that were on the original labels. 


SIGNATURE AND SPECIAL TRADE NAME DESIGNS 


Many manufacturers, merchants and others have adopted, for 
advertising purposes, a special signature or trade name design, 
which is used extensively in their printed matter, advertisements, 
etc. Such a design not only tends to give individuality to the 
printed matter of the firm using it, but with continued use will grow 
in advertising value and as a means of identification as does a trade- 
mark. 


STYLES OF DRAWING 


Although the number of mediums, such as pen and ink, wash, 
crayon, etc., employed by the artist in the production of drawings is 
somewhat limited, the number of styles or methods of treatment that 
may be utilized are almost unlimited. In determining the method of 
treatment for a drawing first consideration must, of course, be given 
to the requirements of the plate that is to be made from it, then the 
style must be suitable to the subject and finally, it must be within the 
ability of the artist to satisfactorily treat the subject in that manner. 

In the examples shown in Figs. 413 to 543, inclusive, will be found a 
wide range of suggestions in types of drawing, and while the explan- 
atory notes indicate the nature of the copy used in making the plates 
shown, the subjects themselves will indicate the mediums used in 
executing the original drawings. Limited space made it necessary to 
make these reproductions small, and practically all of them were made 
from printed clippings, also in many instances, to obtain larger 
detail, the subject was cropped, this further impairing the effect that 
could have been expected, had the reproductions been made in larger 
sizes from the original drawings. Where known, the name of the 
artist who made the original drawing is given, and the example shown 
should not be considered as that artist’s typical style, but rather as an 
example of his work. 


Pages 177 to 192, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


186 COMMERCIAL ENGRAVING AND PRINTING 


A eee ee 


ee, 


a = od a ie 
oo MCR eee w 4 ° 
, f= 


a; RO 
; a, * Yoo. 


By Gaar Williams. By Crawford Young. 
Fig. 413. Fig. 414. 


a. 
Csi 


ia 


Betsey and five 


husky Orphans decorate 
the dining-room 


By Kin Hubbard. 
Fig. 415. Fig. 416. 


a By Webster. 


Fig. 417. Fig. 418. 


All plates on this page are line etchings on zinc, made from printed clippings. 


MeEtTHODS OF TREATMENT 187 


“meet Rhode Island” 
Fig. 419. 


“UHHH =) eh 


ae 


(abel Tg hase wz § 
By Herbert Johnson. 
Fig. 421. 


J 


PS 


By Bal Bares: 
Fig. 424. Fig. 425. 


All plates on this page are line etchings on zinc, made from printed clippings, except Fig. 421, which is a square 
halftone, 150 line, no line, and which was made from a print from a halftone, 120 line, four and one-half inches wide. 


188 COMMERCIAL ENGRAVING AND PRINTING 


Ng 
Wy 


EVERYTHING 


SES 


By Popini. = x 
Fig. 430. Fig. 431. 


All plates on this page are line etchings on zinc, made from printed clippings. 


MeEtHops OF TREATMENT 189 


/ iy 4 - 
2 ey WY WA 

\ Ae ro 7 fii 2 

LON: Aan ry 


[bff ‘hes 


By Charles Dana Gibson. 
Fig. 435, 


Me 
PENNY 
Ny 


At 


5 Nt mn - 
-F. 


By Gustave Baumann. 


Fig. 434. 


4 


af 
Ll 


/, 
Sa 


=" Vey ME, 


By Adolph Triedler. 
Fig. 437. 


All plates on this page are line etchings on zinc, made from printed clippings. 


190 COMMERCIAL ENGRAVING AND PRINTING 


i By Tony Sarg. 


Outline-vignette halftone, 150 line. Outline-vignette halftone, 150 line. 
Fig. 438. Fig. 439. 


al a ii, 


ff pa _@h 
a P ie : : 


Line etching on zine. 


Fig."442. 


K a 


By Ralph Barton. By Frederic G. Cooper. 
Outline halftone, 150 line. Square halftone, 150 line, no line. 
Fig. 440. Fig. 441. 


Line etching on zinc. Line etching on zinc. 
Fig. 443. Fig. 444. 


Allline etchings on this page were made from printed clippings. Fig. 438 from black on white print from halftone, 
120 line, 6 in. wide; Fig. 439 from black on white print from halftone, 120 line, 2 in. wide; Fig. 440 from print in black, 
blue and orange, same size as reproduction. Fig. 441 from photograph on panchromatic plate made from print 6 in. wide, 
in orange and black. 


Meruops or [TREATMENT 19] 


ELBE, ca 
oo owt: lie Ae wen Goo 


By H. Weston Taylor. By Mary Wilson Preston. 


ere ga emer halftone, Outline-vignette halftone, 150 line. 
150 line. 
Fig. 445. Fig. 446. 


Ln PPR tn esr 


z 


Square-outline-vignette halftone, 150 line. By Will Grefe. 


Fig. 447. 


By Herbert Paus. By Herbert Meyer. 
Outline-vignette halftone, 150 line. Outline-vignette halftone, 150 line. 
Fig. 448. Fig. 449. 


All plates on this page were reproduced from clippings printed in black on white from halftones, 120 line screen. 
Copy for Fig. 445 was 234 in. wide; for Fig. 446, 614 in.; for Fig. 447, 6in.; for Fig. 448, 6 in. and for Fig. 449, 7 in. wide. 


192 COMMERCIAL ENGRAVING AND PRINTING 


By James M. Preston. 
Square halftone, 150 line, no line. Square halftone, 150 line, no line. 


Fig. 450. Fig. 451. 


By 7. C. Leyendecker. 
Highlight halftone, 150 line. Made from crayon Outline halftone, 150 line. 


drawing. 
Fig. 452. Fig. 453. 


Plates for Figs. 450 and 451 were made from clippings printed in black on white from halftones, 120 line. Copy for 
the former was 41 in. wide and for the latter 5 in. wide. Fig. 453 was made from a print from a two-color halftone, black 
and orange, 120 line, 814 in. wide. 


ee a ee 


Metuops or TREATMENT 193 


Outline halftone, 150 line. Outline halftone, 150 line. Highlights cut out in plate. 
Fig. 454. Fig. 455. 


By James Montgomery Flagg. By Garth Jones. 
Square halftone, 150 line, no line. Square-outline-vignette halftone, 150 line. 
Fig. 456. Fig. 457. 


‘By Geoiae By ehan: ‘ By Guernsey Moore. 
Square-outline halftone, 150 line. Outline halftone, 150 line. 
Fig. 458. Fig. 459. 


All plates on this page were made from black on white prints from halftones. 


194 COMMERCIAL ENGRAVING AND PRINTING 


\ 2 , mos . I Be re 2 


By J. M. Rove 


Highlight halftone, 150 line. 
Fig. 460. 


ne 


mri 


ay 


By Wm. P. Bodwell. 
Line etching on zine. 


Fig. 462. 


7 ess 
TA 


By 
Line etching on zine. 


Fig. 464. 


All plates on this page were made from clippings printed in black on white. 


Fig. 461. 


By J ‘ Albert Seaford. 
Line etching on zinc. 


Fig. 463. 


By H. Deland Williams. 
Line etching on zinc. 


Fig. 465. 


Metuops or TREATMENT 195 


| (Ge 
eid) 


es 
oO SS 


By Vernon Howe Bailey. 


_ LEGGE: 


FLO CE 


S 


( » Country Life 


LILLE 
ele Lait 


By Rattner. 


By James Cady Ewell. 
Fig. 470. Fig. 471. Fig. 472. 


All plates on this page are line etchings on zinc. Made from clippings printed in black on white. 


Pages 193 to 208, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


196 COMMERCIAL ENGRAVING AND PRINTING 


me. 


weer 
Ey ae 


SE 
tenet re ae 


+e 


f 


= EAS ag ‘f 3 ; peas 
Bees Se, ee Sere anc) 
BR IE CE ce et ha = eS 

By Joseph Pennell. 


Fig. 473. Fig. 474. 


| 
: 


(BL 
Fig. 478. Fig. 479. Fig. 480. 


All plates on this page are line etchings on zinc. Made from clippings printed in black on white. 


MeEtTHOobDS oF TREATMENT 197 


~ 


pea | WY A 
EVEL 


“4 PPE vie 
ae LG f 
\ Gi ie a = 


/ 


QW ZZ 
l} 
| ul 


(Nua a 


Fig. 483. 


‘> 


EF 


ds 


Fig. 487. Fig. 488. 


All plates on this page are line etchings on zinc. Made from clippings printed in black on white. 


198 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 494. Fig. 495. 


All plates on this page are line etchings on zinc, except that for Fig. 491, which is an outline halftone, 150 line, and 
ali were made from clippings printed in black on white. The same copy was used for Figs. 489, 490 and 491; Fig. 490 
being a “white on black” reproduction of the same copy as used for Fig. 489. The same copy was used for making the 
halftone in Fig. 491. 


MetuHops or TREATMENT 199 


aS 


ANI 


45 tlc 


8. 
oe 


=, 


| 


J 
#e 


e 4 
a 
Scion 
eee N 
Sed N 
5 


Fig. 500. 


“loin MY 


a ‘eal an 


Pore ! 


AuyWl|/ 
Iss 
al 


Dy 
“iy 


mT ac i 
| A, iss a ee) tre] i ; 
Sein i 

TTA 

It 

Hibs 

if 


I) 


6.00 


Fig. 501. 


wi 
742 


All plates on this page are line etchings on zinc, except Fig. 500, which is a combination outline halftone, 150 line, 
and line etching on copper. All were made from clippings printed in black on white. 


200 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 504. Fig. 505. 


Fig. 506. Fig. 507. 


All plates on this page are line etchings on zinc. Made from clippings printed in black on white. 


ee een en eee 


Metuops or TREATMENT 201 


fe 


A 
4 


G 
Nx 


By Walter D. Teague. By Frederic W. Goudy. 
Fig. 508. Fig. 509. Fig. 510. 


Fig. 512. Fig. 513. 


am 


SES 
By Charles R. Capon. 
Fig. 514. Fig. 515. 


All of the plates on this page are line etchings on zinc. Made from clippings printed in black on white. 


202 COMMERCIAL ENGRAVING AND PRINTING 


Square-outline halftone, 150 line, no line. 


Fig. 517. 


By Rose O'Neill. 
Outline halftone, 150 line. 


Fig. 516. 


By Edward Penfield. By Maxfield Parrish. 
Square halftone, 150 line, with thin black border. Outline halftone, 150 line. 
Fig. 518. 7 Fig. 519. 


Fig. 516 was made from a print from a two-color halftone, black and red, 120 line, 7 in. wide. Fig. 517 from print 
in blue and orange, 120 line, 93¢ in. wide. Fig. 518 from print in black, blue and orange, 120 line, 8 in. wide, and Fig. 519 
from photograph with panchromatic plate from print from four-color process halftone, 120 line, 93% in. wide. 


Metuops or TREATMENT 203 


By Norman Price. 


Square-outline-vignette halftone, 150 line. Made 
from a print in colors from four color process plates, 
120 line, 93¢ in. wide. 


Fig. 520. 


By Myron Perley. 


Square-outline halftone, 150 line. Made from black 
on white print from halftone, 120 line, 93 in. wide. 


Fig. 521. 


FACE POWDER 


otisncmaees eit SIE 


By Willy Pogany. By Jessie Wilcox Smith. 

Combination square-outline halftone, 150 line, and Square halftone, 150 line, thin black border. Made 

line etching on copper. Made from a print in colors from black on white print from halftone, 120 line, 844 
from four color process plates, 120 line, 9% in. wide. in. wide. 


Fig. 522. Fig. 523. 


204 COMMERCIAL ENGRAVING AND PRINTING 


By Coles Phillips. 


Square halftone, 150 line, no line. Made from photo- 
eraph made with panchromatic plate of print in colors 
from four color process plates, 133 line, 7 in. wide. 


Fig. 524. 


i 
i 


By W. T. Benda. 


Square halftone, 150 line, no line. Made from black 
on white print from halftone, 120 line, 93¢ in. wide. 


Fig. 526. 


By Claire Avery. 


Circle halftone, 150 line, with thin black line border. 
Made from a print in colors from four color process 
plates, 133 line, 7 in. wide. 


Fig. 527. 


By H. Hvymer. 


Outline halftone, 150 line. Made from black on white 
print from halftone, 120 line, 4 in. wide. 


Fig. 525. 


By Flato. 


Outline halftone, 150 line. Made from black and 
white print from halftone, 120 line, 8 in. wide. 


Fig. 528. 


Metuops oF TREATMENT 205 


LOR 2? 
PANU HERS 2 


a 


Square halftone, 150 line, no line. Made from black By Louis Fancher. 
on white print from a halftone made direct from the clay Square-outline halftone, 150 line. Made from a print 
model. from halftone. 


Fig. 529. Fig. 530. 


By Robert J. Wildhack. By Charles B. Falls. 


Square halftone, 150 line, no line. Made from a Square halftone, 150 line, no line. Made from 
print in colors from four color process plates, 133 line, print 61% in. wide in three flat colors, black, 
8 in. wide. blue and pink. 


Fig. 531. Fig. 532. 


Pages 193 to 208, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


206 COMMERCIAL ENGRAVING AND PRINTING 


Combination outline halftone, 150 line, and line Combination outline halftone, 150 line, and line 
etching on copper. Made from a retouched photograph etching on copper. Made from a photograph of copy 
and line drawing of border. as used for Fig. 533, a special soft focus lens having 


been used in making the photograph. Also known as a 
diffused photograph. 


Fig. 533. Fig. 534. 


Square finish halftone, 150 line, no line. Made from a photograph of the original carving in stone. The solid black 
background was obtained by staging this part of the plate before etching. 


Fig. 535. 


Square-outline halftone, 150 line. Made from Square halftone, corners cropped, 150 line, no line. 
prrushes photograph—flat or poster style of re- Made from retouched photograph. 
ouching. 
Fig. 536. Fig. 537. 


a ee Se ee eee 


Meruops or TREATMENT 207 


Square-outline halftone, 150 line. 
Made from photograph of a tablet. 


Fig. 538. 


_ Line etching on zinc. Made from a 
line drawing. This style of drawing 
is known as Art Nouveau. 


Fig. 540. 


Square-outline halftone, 150 line. 
clipping printed in black on white. 


Fig. 542. 


THE MOST EASILY % 
CULTIVATED MARKET 
IN U.S.A. 


Outline halftone, 150 line. Made from a combination wash and 


line drawing. 
Fig. 539. 


Square halftone, 150 line, no line. Made from print from halftone, 120 line, 
93% in. wide, the utensils were printed in black and gray and the background 


in a light purple. 
Fig. 541. 


Made from Circle halftone, 150 line, no line. Made from 
clipping printed in black on white. 


Fig. 543. 


208 COMMERCIAL ENGRAVING AND PRINTING 


SPRAGUE ELECTRIC WORKS 
CARLIE CRS DSERIEE 
BULLETIN Xe 115, 


IAA 


3 : S822 Hone of : : : 
ADS DUFF -GORDONS ASEPTIC 
DHUGINAL DYSIONS Fy 
pte 


Sree, 
Ni Tope 


fit Be, 


{AJ 


Double print square halftone, 150 line, no line. The several examples were photographed on one plate and the 
photographic print cut to produce a print of each. These were arranged in the group as shown, then slightly retouched, 
and the shadows painted in on the background. Proofs from type were arranged for double printing the key letters. 


Fig. 544. Title pages. 


TITLE PAGES 


In the compilation of every book, catalog or booklet one of the 
features to receive special consideration is the text and the treatment 
or arrangement of it for the title page. Several examples, some set in 
type and others reproduced from drawn copy, appear in Fig. 544. 


TRADEMARKS 


When practical, every manufacturer should label articles of his 
manufacture with a special trademark design, a reproduction of which 
should be used extensively in his advertising matter. The use of such 
a means of publicity has great and accumulative advertising worth 
as has been proved by the value placed on many well-known trade- 
marks by their owners. In Fig. 545 will be found various ideas, shapes 
and combinations, from which those who wish to develop a trademark 
may obtain suggestions. 


Pages 193 to 208, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


MetTHODS OF TREATMENT 209 


GUARANTEED 


SDELPHOS, 


PNIZARD* 
Qa 


3uI.c1I0T 


Gd ig ag E>. 


MADE IN DETROIT 


QUALITY WITH 
LARGE OUTPUT 
ee 


yflllilily 
fay, 


Wf, 
UY VB vc 


_ Line etching on zinc. Made as one plate from printed clippings. The original clippings were grouped according to 
size and black and white photographs made to obtain uniform size. The photographic prints were arranged as shown 
and proofs from type of the key letters were pasted on to complete the copy. 


Fig. 545. Trademarks. 


210 COMMERCIAL ENGRAVING AND PRINTING 


X-RAY AND DETAIL VIEWS 


Often special features in an illustration are to be brought out more 
prominently than others. This may be accomplished through special 
treatment of line drawings, wash drawings, or retouched photographs. 
The parts may be emphasized through x-ray, or magnified views, or 
with the aid of arrows, numbers, letters, etc. Sectional views are also 
used often for showing the interior mechanism or arrangement. 

An x-ray, or phantom illustration, also somet’mes called a ghosted 
view, not only shows the exterior of the subject but also details of the 
interior. 

To bring attention to a special feature of a subject the special fea- 
ture may be shown in a magnified view, using that part as an insert 
over a part of the picture where it will not obliterate any of the essential 
parts of the complete illustration, as in Fig. 564. 

Some features may be emphasized by dimming the surrounding 
view, obtaining a gray effect for this, the main feature of the view 
appearing in the regular way. See Fig. 555. 

Special features are sometimes pointed out through over printing 
a halftone or other print with a line etching in a second color. If the 
color in the halftone is heavy, the color over printing seldom appears 
as strong as necessary, unless special cutting out is done on the plate 
underneath the lines printed in the second color. 

Reference letters or numbers, arrows, etc., when used in connection 
with halftones are usually drawn as separate copy and combined with 
the main subject by double printing. By this plan the copy of the 
main subject is retained in its original form and no changes in it are 
necessary when making reproductions afterwards when the reference 
characters are not to be used. 

Where considerable text matter is to be used for a reference or 
explanatory note, it is usually best to have this set in type and a press 
_ proof taken to be used as copy for reproduction. This insures neatness 
and uniformity and usually is less expensive than carefully drawn 
hand lettering and much more legible than free hand lettering. 

There are many methods of appending reference letters, numbers, 
notes or paragraphs to the illustration of a subject where special atten- 
tion is to be directed to special features, one of which, for printing in 
one color, is shown in Fig. 560. The boxes, or panels on either side, 
could, of course, be changed in size and shape to accommodate the 
necessary matter. This matter could be set in type in mortises in the 
panels, or proofs from type could be pasted in the panels on the drawing 
or the matter drawn with the panels, and all reproduced together in 
the plate. Or the panels could be entirely omitted and the matter 
arranged alongside, or at the end of the arrow, or directing line. Where 
the main subject is shown in a halftone it is better to double print the 
reference matter, if any of it is to print over the halftone, but if the 
subject is a line drawing, the references can be added to the drawing 
and all reproduced together. Fig. 559 shows a separate plate for 
printing the references in a second color and would be used in con- 
nection with the halftone of the machine only as shown in Fig. 560. 

The addition of reference letters, figures, etc., to copies from which 


MetruHops oF TREATMENT 211 


INDUSTRY, 


PARTS MAKERS ACCESSORY 
1080 MAKERS 
DATA INCLUDED 
UNDER PARTS 
MAKERS 


04 9 


RBERS 
4) J 


N 


y 


Fig. 549. 


TRL 
ee 


ST 


ar 
na 


DELAWARE 


are 


PENNSYLVANIA ST. 
| VS 
‘iy 


is) 
MERIDIAN 
U 
4 
RY 


LOUISIANA S 


2 
UNION 
STATION 
é 


= 

St Tee 
soli bca lilies 
JL Js 


5 
S 


Fig. 550. | Fig. 551. 


All plates on this page are line etchings on zinc except Fig. 550. All were made from printed clippings. Fig. 550 is 
a combination square-halftone, 150 line, no line, and line etching on copper. 


21D, COMMERCIAL ENGRAVING AND PRINTING 


KPI5SS KPI56 23 


| 
GR WOL 


136 


Double print square halftone, 150 line, no line. Made 
from photograph and drawing of arrows and figures. 


Fig. 552. 


yh a 


Square halftone, 150 line, no line. Made from photo- 
graph. The shading machine was used on the halftone 
negative to produce the ruled background. 


Fig. 555. 


ne Sl 
ff Sea 
Ay ES 
oa 7 \ & 
fA ft SS NN 
ie a aS - = ray \ i 
‘) 


/ 
{ 
H 
| 
| 
| 
! 
' 
if 
id 
\ 
| 
\ 
\ 
! 
{ 
| 
I 
| 
1 
| 
\ 
bh 


x 


seu 
=F. 


Fig. 553. 


Fig. 554. A sectional view. 
Outline halftone, 150 line. Made from a wash 


drawing. 


Vignette halftone, 150 line. Made from a combina- 


tion photograph. 


Fig. 556. 


MetrnHops oF TREATMENT 213 


Outline-vignette halftone, 150 line. Made from a wash drawing. 


Fig. 557. An x-ray or phantom view. 


Line etching on zinc. Made from Line etching on zine. Made from pen drawing. 
printed clipping. 


Fig. 558. Fig. 559. 


Combination double print outline halftone, 150 line, and line Combination outline halftone, 150 
etching on copper. Made from retouched photograph. White lines line, and line etching on copper. Made 
cut on halftone plate alongside arrows. from retouched photograph. 


Fig. 560. Fig. 561. 


1A. COMMERCIAL ENGRAVING AND PRINTING 


Outline halftone, 150 line. Made from. a wash Line etching on zinc. Made from shop working 
drawing. drawing used as the principal copy in making the 
drawing for Fig. 562. 
Fig. 562. | Fig. 563. 


Outline halftone, 150 line. Made from a wash Outline halftone, 150 line. Made from a retouched 
drawing. , photograph. : 
Fig. 564. Fig. 565. 


Metuops oF TREATMENT DAS 


Outline-vignette halftone, 150 line. Made from a Combination double print outline halftone, 150 line, 
wash drawing which was made from blue prints. and line etching on copper. Made from a retouched 
photograph. Numbers and arrows drawn for double 
Fig. 566. printing. 2 
Fig. 567. 


Adjusting Screw Diaphragm Ball Bearings 
AS 


Valve Cap 


¥ 


| Drive Shaft 


Plunger Weights 


Butterfly Valve Box 


Combination double print outline halftone, 150 line, 
and line etching on copper. Made from a wash draw- 
ing. Proofs from type of references pasted on drawing 
of arrows for double printing. 


Fig. 568. 


Vignette halftone, 150 line. Made from a wash Outline halftone, 150 line. Made from a wash 
drawing. drawing. 


Fig. 569. Fig. 570. 


216 COMMERCIAL ENGRAVING AND PRINTING 


halftones are to be made does not involve extra expense in the plate 
making if such reference characters are kept within the area of the 
halftone proper. Often, however, these may be strengthened by 
tooling and this, of course, entails additional expense, depending upon 
the amount of workman’s time required. 

If the halftone is outline, or outline-vignette finish and the char- 
acters extend beyond the area of the subject, a combination plate is 
necessary. 

X-ray, or phantom views, are frequently made from blueprints 
made from shop drawings, and are charged for on the basis of artist's 
time required for their production. It is practically impossible for 
anyone to estimate the time that will be required for making such a 
drawing, as frequently much experimental work is required to deter- 
mine the most satisfactory method of showing the special feature 
effectively. 

While it is not necessary, it is often convenient to cut in two an 
article of which a sectional view is required, so that a photograph may 
be made of a section and this retouched. Most views of this character, 
however, can be drawn more cheaply and are made from blue prints 
or shop drawings, the artist submitting sketches or layouts at short 
intervals as the work progresses, until certain the plan being followed 
is satisfactory to the customer. 

Copy for reference letters, etc., that is drawn separately for double 
printing, or for a separate plate to overprint in a second color, and 
which must register with points in the main subject is usually drawn 


on transparent paper, placed over the main subject, while the drawing | 


is being made. Register marks on the reference copy are made to cor- 
respond with similar marks on the main copy so that in double printing 
a perfect register may be obtained. 


ings, halftones and photo-lithography, dates from the applica- 

tion of a discovery by Fox Talbot in 1852, that a solution of 
organic matter, such as gelatine or albumen, in which certain chro- 
mate, or bichromate, salts have been dissolved, will after drying and 
subsequent exposure to light, become insoluble in water. [nvother 
words, if a dry film of such chromated gelatine is exposed to the light 
under a photographic negative, the parts of the film which have been 
acted upon by the light through the clear, or partially clear, parts of 
the negative, become insoluble, or partially so, in proportion to the 
light that reached them, and remain unaffected when the soluble por- 
tions are washed away. 

It may be noted that in any of the photo-mechanical engraving 
processes, the operations are very similar to those in making an 
ordinary photograph, with the addition of the etching process. A 
negative, which corresponds to the photographic negative, is made 
from the copy being reproduced. A print is then made on a sheet of 
metal coated with a sensitized solution which corresponds to photo- 
graphic printing paper. The etching away with acid of those parts of 
the metal plate which are to form the highlights of the illustration 
and other finishing operations then follow, obtaining, it may be said, 
in the resultant printing plate a photograph in relief on metal of the 
copy. 

The line etching is the simplest and least expensive method of mak- 
ing printing plates by the photo-mechanical process. They are usually 
made on zinc and for that reason are commonly called ‘‘zinc etchings.” 

The printed impression from a line etching passes abruptly from 
the solid color to nothing and resembles a print from a wood-engraving. 
There are no intermediate tones of shading except such as are pro- 
duced by means of isolated lines or dots. 


/ \HE birth of photo-mechanical engraving, including line etch- 


KINDS OF COPY THAT MAY BE REPRODUCED 


They may be made from any kind of copy that is made up entirely 
of solid blacks and whites; that is, all lines of the copy must be black 
or white, and for best results, all lines should be clean and sharp, black 
on white. Copy may be on paper, cloth, or similar material, but must 
be in firm, clean, distinct dots, lines, or masses of solid color, as gray 
or defective lines or dots reproduce imperfectly. Pen, crayon, or char- 


*Jine etching on zinc from pen drawing. The vertical lines in background were added to the print on metal with the 
shading machine. 


218 COMMERCIAL ENGRAVING AND PRINTING 


coal drawings, newspaper clippings, typewritten copy, a printed page, 
printer’s proofs, music, signatures and subjects of a similar nature 
may be reproduced by this method. Gray or shaded effects can be 
obtained only by the use of lines or dots. Blue prints cannot be repro- 
duced without inking in the lines with black water-proof ink and 
bleaching out the background to white, or photographing with color 
screen and special color sensitive plate, but the tracings from which 
blue prints are made make good copy. Copy in colors other than 
black may be reproduced with more or less success except that made 
in light blue, which cannot be photographed without additional 
expense. A few colors, notably red and yellow in shades, will photo- 
graph as well as black and may be reproduced with good success. The 


Combination halftone and line etching on zinc, 133 line. The two line etchings and the halftone were tacked in their 
places in the line zinc of border. 


Fig. 601. Line etching from photograph (left) and line etching (right) 
made from a print from a section of the halftone in center. 


best results, however, are obtained from clean, sharp black and white 
copy. 

In reproducing line drawings that have been made on colored paper, 
even though made with black ink, it is sometimes necessary to make 
first a negative with color filter to separate the lines from the back- 
ground and then make the etching in the usual way from a ‘‘black and 
white” print from this negative. Although an extra charge is made 
when this method is used, it is often less expensive than redrawing. 

It is impossible to make line etchings direct from wash drawings, 
photographs, retouched photographs, photogravure prints, oil paint- 
ings, or similar copy, where the tones of color are blended together 
without separation, or from prints from fine screen halftones unless 
enlarged. When such copy is reproduced by this method patches of 
white appear for the highlights, patches of blacks for the blacks, and 
smudges for the middletones as in the view at left in Fig. 601. Similar 
effects would be obtained from line drawings made with ordinary 
writing ink. 


Pages 209 to 224, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


LINE ETCHINGS 219 


Square halftone, 133 line, no line. Made from a slightly retouched photograph, made with flashlight. 


Fig. 602. A photo-engraver’s camera, with stand, copy board and lamps. 


STt7ParOR, THH-COPY 


Since a reduction in reproduction will minimize a great deal of pos- 
sible roughness in the copy and give cleaner detail in the engraving, it 
is well to make the copy from ten to one hundred per cent larger than 
the reproduced plate is to be, the amount of reduction depending some- 
what on the skill of the artist, the nature of the copy and the effect 
sought in the finished plate. The plate may be made in any proportion 
to the size of the original copy, keeping in mind of course that one 
dimension is reduced in the same ratio as the other, also that the size 
of the lines in the drawing will be reduced in thickness in proportion 
with the reduction in the size of the copy. 

Plates may be made larger than the copy, but usually are not so 
satisfactory on account of increase in roughness of the lines because 
of the magnification. 


Square halftone, 133 line, no line. Made from slightly retouched photographs—the halftone negatives were stripped 
together. 


Fig. 603. Obtaining size on the ground glass for the plate (left) and 
~ exchanging the ground glass for the holder containing 
the sensitized plate (right). 


Square halftone, 133 line, no line. Made from a retouched photograph. 


Fig. 604. Making the exposure. 


OPERATIONS IN THE PROCESS 


The first step in the making of a line etching, after the drawing or 
copy has been finished, and the size has been determined for the plate 
to be made, is to make a line negative. The copy is attached to the 
copy board, usually by tacking, and placed in front of the camera. 
The operator adjusts the camera, by moving it forward or backward 
on the stand, and extending or contracting the bellows of the camera 
until the image of the copy on the ground glass appears in the desired 
size and in perfect focus, thus obtaining detail or definition and size 
in these operations. The ground glass is then removed from the 
camera and the plate holder containing a sensitized wet plate is now 
put in its place in the camera. Strong electric lights with reflectors 
throwing the light on the copy are then turned on, the slide from the 
plate holder and the cap from the lens are removed and an exposure is 
made. The length of exposure and the size of the opening before 
the lens depend upon the nature of the copy, the light, etc. 


TREATMENT OF THE NEGATIVE 


After the exposure has been finished, which requires from two to 
three minutes or more, depending on conditions and equipment, the 


ia halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were stripped 
tozether. 


Fig. 605. The negative (left) and stripping and turning it (right). 


LINE ETCHINGS 221 


dy halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were stripped 
together. : 


Fig. 606. The stripped and turned negative (left) and the 
same in the printing frame (right). 


plate is removed from the holder in a dark room and developed and 
fixed by a washing process. 

After the plate has dried, the film side is thinly coated with a trans- 
parent solution of liquid rubber cement to insulate the film from 
another coating that is to be added afterwards to give the film body for 
stripping, and this is allowed to dry. A solution known as stripping 
collodion is then poured on in an even thickness and allowed to dry. In 
drying, these coatings become a part of the negative film. The plate 
is then put into an acetic acid bath and allowed to soak until the film 
separates easily from the glass so that it may be removed in a sheet. 
The film is then removed from the negative glass and laid on a piece 


Square halftone, 133 line, no line. The view at left was made from a slightly retouched photograph and that at right 
from a print from halftone. The halftone negatives were stripped together. 


Fig. 607. Making the print on metal (left) and a 
printing lamp (right). 


: “*9Odsg hy 
po 10 odmen 


Square halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were stripped 
together. 


Fig. 608. The print on metal (left) and the same after the large blank 
areas were painted over with the resist (right). 


of thick plate glass, reversing or turning the film upside down in the 
operation. If the film were not reversed, the print from the finished 
plate would read backwards, or from right to left. The film on the 
plate glass is allowed to dry thoroughly. A piece of zinc, usually about 
one-sixteenth of an inch thick and polished and burnished on one side, 
is then sensitized on the polished side with a bichromated glue solution 
and dried. The sheet of zinc is somewhat larger than the finished plate 
is to be, thus providing for margins and space for handling. 


TREATMENT OF THE PRINT ON METAL 


The negative on the plate glass is then placed in a printing frame, 
which is supplied with thick glass perfectly transparent, with film side 
up. The sensitized zinc plate is then placed on top of the negative, 


a & ‘ . 


ae! halftone, 133 line, no line. Made from'slightly retouched photographs. The halftone negatives were strippe 
together. 


Fig. 609. Powdering the print (left) and burning it in (right). 


Pages 209 to 224, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


Line EtcuIncs 293 


Square halftone, 133 line, no line. The view at left was made from a slightly retouched photograph and that at right 
from a black on white print from halftone. The two halftone negatives were stripped together. 


Fig. 610. Etching the plate (left) and an etching tub 
with stand and motor (right). 


the sensitized side of the zinc and the film side of the negative being 
placed directly together. The back is then placed in the printing 
frame and sufficient pressure put on to the back through clamps or 
vacuum to insure perfect contact between the negative and the sensi- 
tized zinc. The printing frame is then set on edge and the face is ex- 
posed to strong electric light. In this operation of making the print 
on metal the light penetrates the thick glass in the printing frame and 
the glass on which the negative has been stripped, and passes through 
the negative to the sensitized zinc plate. - 

The print on metal is then developed and fixed, all parts of the 
sensitized coating washing away during these operations, except those 
affected by the light when the print was being made. The fixed print 


Square halftone, 133 line, no line. The view at left was made from a slightly retouched photograph and that at right 
from a black on white print from halftone. The halftone negatives were stripped together. 


Fig. 611. Routing the plate (left) and a routing machine (right). 


Square-outline halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were 
stripped together. 


Fig. 612. Sawing block and plate (upper left), squaring and trimming 
(upper right) and planing to type high (lower). 


is the same as will be produced by the finished plate except that it is 
reversed or backwards, as in all plates or type for letterpress printing. 
Wherever lines of the print appear on the plate it is not affected by 
the chemical used in etching. The back and edges of the plate are 
made impervious to the acid by painting with a resist. In addition 
to this, to expedite the etching of the plate as well as to economize in 
the use of the chemical, the large flat surfaces on the face of the plate 
that are not to print are covered with the resist with a brush, leaving 
these surfaces to be routed out later instead of being etched out 
chemically. 


Square halftone, 133 line, no line. Made from black on white prints from halftones. The halftone negatives were 
stripped together. 
Fig. 618. A combined saw and trimmer (left) 
and a type-high planer (right). 


Ee 


LINE ETCHINGS 25 


Square halftone, 133 line, no line, The views at left and right were made from slightly retouched photographs and 
that in the center from a black on white print from a halftone. The halftone negatives were stripped together. 


Fig. 614. Finishing (left) and proving the 
plate (right). Proof press (center). 


ETCHING THE PLATE 


A resinous powder, known as dragon’s blood, is then brushed over 
the zinc plate and burnt in, the powder adhering only to the printed 
parts of the surface. The plate is then placed in nitric acid either by 
immersing in a tray of the chemical with a motor driven device for 
rocking, or by placing in an etching machine where the chemical ts 
sprayed against the surface of the plate. The chemical acts on the 
unprotected surfaces of the plate, and by erosion these are eaten down, 
leaving in relief the surfaces that have been covered by the print of 
the image and the surfaces that have been painted with the resist. 
After the plate has been immersed for a short time it is removed from 
the acid and washed off clean with water. Another powdering is then 
given the plate, the plate being brushed four ways, top to bottom, 
right to left, bottom to top, and left to right, and it is heated after the 
brushing in each direction. The plate is again washed in water and 
again submitted to the acid. After another short immersion in the 
acid it is once more washed, powdered, heated and again placed in the 
acid. Each time the plate is placed in the acid is called a bite,—and 


in Fr 


é be OO eo ag 79 ee 
Chamber of Commerce 


SiR RIO 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 615. The finished plate and a proof from it. 


226 COMMERCIAL ENGRAVING AND PRINTING 


a plate may be subjected to one bite, two bites, or whatever number 
may be necessary to get the desired depth. It will thus be seen that 
a shallow plate may get only one or two bites, while a deeply etched 
plate may get four or six or more; or the bites may be shortened, in 
which case several may be given and still a shallow plate will be pro- 
duced. The powdering process causes the lines that are to print to 
widen as they get deeper, giving the line in relief the appearance of 
an inverted V. If the plate were not etched by bites and the entire 
depth were obtained by one application of the acid to the plate, the 
chemical action of the acid would spread and cut under the lines 
printed in the resist on the face of the plate. In the case of fine lines, 
this would result in broken or ‘‘chewed”’ lines and the wider lines 
would have rough edges in the finished plate. 

When the plates are not etched in a machine, they are usually 
placed in a rocking tray with the acid running first in one direction 
across the face of the plate and then the opposite. By turning the 
plate frequently, the four-way motion is given the acid, the same as 
the four-way motion in brushing the powder on the plate, thus etching 
all parts of the plate evenly. 


ROUTING AND FINISHING 


After sufficient depth has been given the plate by etching, it is 
mounted on a block about type high and placed on the routing ma- 
chine where the surplus metal in the large flat surfaces which were not 
etched out chemically is routed away with a rapidly revolving drill- 
like tool. Also more depth is given to the large spaces that are to 
show blank in the print from the plate and the plate is separated from 
the surrounding metal by routing. The router is said to be the 
highest speed machine made. Its spindle must run from 10,000 to 
20,000 revolutions a minute and so true that it will absolutely cut to a 
hair line. The plate is then removed from the temporary base on which 
it has been routed and mounted permanently as it is to be used. Unless 
otherwise ordered, line etchings are usually mounted on wood, but 
they may be mounted in any of the ways described under ‘‘ Methods of 
Mounting.” 

The plate is then taken up by the finisher who carefully inspects it 
and compares it with the copy, cleaning up such lines as may be imper- 
fect through improper action of the resist, slips in routing, etc., tooling 
off surplus metal and soldering in parts that have been unintentionally 
etched or routed away. It is then ready for proving, final inspection 
and delivery. 


REVERSING BLACK TO WHITE OR WHITE TO BLACK 


Occasionally it is necessary to reverse the relation between blacks 
and whites in the etching. For example, if copy is furnished for an 
etching with black lines on white background the engraving may be 
made to print with solid black background and white lines, and by 
the same treatment a copy which shows a black background with 
white lines may be reversed. When a black background and white 


Pages 225 to 240, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


LINE ETCHINGS O27 


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Chamber of Commerce | Chamber of Commerce 


Line etchings on zinc. Made from a pen drawing. 


Fig. 616. Black on white. Fig. 617. White on black. 


lines are desired, it is better to use white paper, and make the drawing 
with black lines when possible. Black ink on white paper is much 
easier to work than white ink on black paper. 

In making such a plate where the background and printing charac- 
ters are to be reversed in color, the negative is made of the copy in the 
usual way and from this negative a positive is made from which the 
print is made on metal, the remainder of the process being the same as 
in straight line work. The positive, or negative from a negative, is 
made by placing the negative in an open frame, or holder, between the 
camera and a white background. Then in making the exposure the 
light is thrown against the white background, thus bringing out the 
transparency of the negative to the lens. 

The same result may also be obtained by a special treatment of a 
print on metal that has been made in the usual way. By this treatment 
a special chemical is applied to the plate with a roller, this chemical 


Square halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were stripped 
together. 


Fig. 618. The positive (left) and print on metal (right) as used in making 
a line etching to print ‘‘white on black.” 


228 COMMERCIAL ENGRAVING AND PRINTING 


acting as a resist to the exposed metal of the plate and causing disin- 
tegration of the original print. The plate is then etched and finished 
in the usual manner. This method is also extensively used in making 
plates for additional colors and for etched embossing dies. 


lL 


Fig. 619 is a line etching on zine and Fig. 620 a line etching on copper. Both were made from a pen drawing to which 
the shading had been added with the shading machine. 


Fig. 619. Fig. 620. 


Line etchings on zinc and copper in comparison. 


An extra charge is always made for plates reversed by either of the 
foregoing processes, on account of the additional labor required, the 
amount depending on the nature of the work. 

In the case of a type form or plate, where the reversed plate is to 
be made the same size as the original form or plate, a bronzed proof 
on a thin transparent paper may be used in making the print on the 
metal, thus doing away with all negative making and stripping, though 
the etching and finishing is done in the usual manner. The bronzed 
proof is used because of its opaqueness. 

In ordering a reversed plate to show white characters on a black 
background, keep in mind that it is just as essential that the engraver 
be instructed as to how much background shall be left beyond the let- 
tering or design, as it is that he be advised as to the size for the lettering 
or design. And it is advisable in ordering to specify “white on black” 
or “black on white”’ instead of specifying ‘‘reverse etching,’ as the 
term ‘reverse etching”’ is sometimes used in referring to a plate of de- 
sign or lettering made to print reading, or facing, the opposite direction 


LINE ETCHINGS 229 


from that shown by copy. Ordinarily, of course, the printed impres- 
sion from a plate of lettering should read from left to right, and it 
would be a serious error to make the plate to print to read the reverse. 
There are instances, however, when this result is required, as for a 
plate for printing the border, general title and blank form on the 
back of sheets of tracing cloth for a series of shop drawings from 
which blue prints are to be made. 

An extra charge is usually made for reproductions from lithograph 
or steel plate copy, script, penmanship or shorthand, because of the 
extra care required on account of the fineness of the lines and other 
difficulties that are usually encountered in getting good reproductions 
from this class of copy. And notwithstanding that the greatest care 
may be given to all steps in the process, the majority of such copy 
cannot be reproduced in plates that will print to give results equal to 
the copy from which they were made. 

Line etchings on zinc are especially adapted to printing on the 
lower grades of paper, such as newspaper, and also for designs or 
illustrations to be printed on rough-finished stocks. They are also 
largely used for the reproduction of cover designs for catalogs and 
folders, for magazine advertisements, for embellishing catalog or booklet 
pages, and in fact, for reproducing most every kind of line copy for 
letterpress printing. They electrotype and stereotype better than 
halftones, as they can be etched deeper and are more open. However, 
those with extremely fine lines and minute detail require the use of 
good paper in printing and the same care in electrotyping and printing 
as do fine screen halftones. 


LINE COPPER PLATES 


The process of making a line plate on copper is exactly the same as 
making a line plate on zinc except that the difference in metal necessar- 
ily makes a difference in the chemicals used. The action of acid on cop- 
per is much slower than on zinc, it requiring several times as long to 
etch a plate to the same depth on copper as to etch it on zinc; hence, 
they are comparatively higher in price. 

Line etchings are made on copper instead of zinc when the lines in 
the plate are to come very fine. It is impossible to hold such lines on 
zinc, which is a softer and more brittle metal than copper. Copper is 
usually used for line etchings made in combination with fine screen 
halftones, when the two are made as one plate. A line etching on 
copper will last somewhat longer than one on zinc and will give softer 
effects in the minute detail in printing. 


THICKNESS OF METAL USED 


While almost all line etchings on zinc or copper are made on 16- 
gauge metal, this thickness having been found most satisfactory for 
this purpose, they may be made, and frequently are made, on thicker 
or thinner metal. The only advantage in making them on thinner 
metal is the saving in cost to the engraver, but the serviceable qualities 
of the plate are reduced. A great many line etchings are made on zinc 
11/72” thick, which is also the proper thickness for unmounted plates 


230 COMMERCIAL ENGRAVING AND PRINTING 


to be used on patent bases. Plates on heavy metal will stand more 
severe usage than the thinner metal, a quality which is especially ad- 
vantageous in printing a large flat surface plate on rough stock. The 
thick metal is also largely used for making embossing dies or printing 
plates to be used in printing or stamping heavy, coarse material, since 
it is possible to etch to a much greater depth than on thin metal and 
still retain strength and rigidity in the plate. Because of the extra 
time required for deep etching and routing, and because of the in- 
creased cost of the metal, an extra charge is always made above regu- 
lar scale price for etchings on thick metal. An extra charge is also made 
on plates etched on metal of the usual thickness when etched extra 
deep, if so ordered. 


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colors, a separate printing plate is required for each color. 

Line color plates provide one of the least expensive methods 
of printing special designs in colors, and through their use most effec- 
tive results can be obtained. 

Line color plates are principally used for printing cover designs on 
rough cover paper and for illustrations and designs on the cheaper 
grades of book and newspaper stocks. However, they are frequently 
employed to excellent advantage for both decorative and illustrative 
purposes on the better grades of rough surfaced papers, and on those 
with a highly finished surface. 

In the preparation of copy for line color plates, the drawing is not 
made in the colors as they will appear in the finished print, but a 
drawing is made of the detail in outline to permit of easy separation of 
colors on the plates. A rough color sketch is usually submitted to the 
customer, after the order is placed, giving an approximate idea of the 
appearance of the job when printed, and this will also serve as a guide 
to the plate maker in making the plates. 

The drawing usually represents that which is to appear in the key 
plate, or the one carrying most of the detail, and the outline of the parts 
that are to be printed in the additional colors. It may also be only of 
the guide lines for the separation of the colors, as for Fig. 648, or in 
some other form to meet special conditions. But in whatever form it is 
made it must be so handled as to permit of the easy separation of parts 
representing the plates for the different colors and which must all be 
made from prints from the same negative, in order to insure perfect 
register in the plates. 

A drawing which is to be reproduced in colors should be made in 
black ink on white paper. On the margin of the sheet containing the 
drawing, a sheet of tissue or semi-transparent paper may be so pasted 
that it can be folded over the picture. On this tissue paper is roughly 
indicated the color scheme for the parts that are to be printed in the 
extra colors. If more than two colors are to be used in the job, it is well 
to indicate on the tissue the parts that are to be in the different colors 
with different colored pencils or water colors. 

The number of colors in which an illustration in line may be printed 


\ , Y HEN an illustration or design is to be printed in two or more 


*Line etching on zinc. Made from a pen drawing. The ruled shading around letters and border was added to the 
print on metal with the shading machine. 


Square-outline halftone, 150 line. Made from a 
photograph. 


Fig. 627. The color scheme indicated 
on tissue overlay. 


is practically unlimited, although if beyond four or five it is usually 
more practical to use some other process. 

In making printing plates of this character, a negative is made of 
the drawing in the same manner as for one color line etchings, and from 


Line etching on zinc. Made from a pen drawing. 


Fig. 626. Drawing as made for one 
type of line color job. 


Square-outline halftones, 150 line. Made from photographs on which the outline and thickness of the metal plates 
had been painted. The four plates were mounted on one block. 


Fig. 628. The four prints on metal—all from the same 
negative—ready for the artist. 


LINE Cotor PLATES a 


Yellow 


nnenenerecsc OCCUR Rt 


Square-outline halftones, 150 line. Made from photographs on which the outline and thickness of the metal plates 
had been painted. The four plates were mounted on one block. 


Fig. 629. The four prints on metal after having been 
‘painted in” by the artist. 


this negative as many prints are made on sensitized metal as there are 
to be colors in the job. Then each print is treated by painting in a re- 
sist with brush, pen or shading machine or by scratching out, so that it 
may be etched or routed to remove what is not needed in the produc- 
tion of the color for which that plate is to be used. After the artist has 
worked over the prints, they are etched, routed, blocked and finished 
in the usual way, each block being marked with the color in which it is 
to be printed. The prover when taking up the plates, usually makes a 
rough proof of the key plate, the one carrying most of the detail, first, 
and uses this as a try sheet to determine the position for the other plates 
which are then proved in their respective colors in the order as may be 
required, putting on the finished proof of the key plate last. The fact 
that all of these plates are made from prints from the same negative in- 
sures the perfect register and fitting together of the several portions of 
the picture made up of the various colors. It is possible to superimpose 
one color upon another and in this way obtain a tint that is different 
from any of the others by the combination of two colors. The preced- 
ing color must dry before another is printed over it. The order of the 
colors in proving and printing may vary according to the nature of the 


Pages 225 to 240, inclusive, are printed on 95x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


234 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 634. Yellow and red. Fig. 635. Yellow, red and blue. 


The four plates printed in their respective colors 
and the progressive combinations. 


All plates on this page are line etchings on zinc. 


LiInE Cotor PLATES 230 


Fig. 636. The complete subject in four 
colors—yellow, red, blue and black. 


Fig. 637. The yellow plate. 


» Wl 


: by a 7 
Fig. 640. The black plate. Fig. 641. The complete subject in four 
colors—yellow, red, blue and black. 
Figs. 637 to 641, inclusiv 
shown in fine out 


e, illustrate a line four color job in which all detail is 
line in the key plate, with the color in tints. 
All plates on this page are line etchings on zinc. 


236 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 642. Line etching of type printed over a flat color. 


Pe a ee ee ey 


Fig. 646. The black plate. 


Fig. 645. The blue plate. 


All plates on this page are line etchings on zine. 


Linge Cotor PLATES 2 


mS 


\ 
) 


Fig. 649. A flat color plate cut to 
work around subject. 


\ 
)) K 


\\h\ 
By 


BN 


subject. Design transferred from 
Fig. 650. A line two color job. cloth to the metal then etched. 


Fig. 651. Shaded plate for color around 


Fig. 652. A design complete in one or two colors. 


All plates on this page are line etchings on zinc. 


238 COMMERCIAL ENGRAVING AND PRINTING 


ee — wh es 


Fig. 653. The yellow plate. Fig. 654. The red plate. 


Fig. 655. Yellow and red. Fig. 656. The blue plate. 


All plates on this page are line etchings on zinc. 


LIne CoLor PLATES 239 


Fig. 657. Yellow, red and blue. Fig. 658. The black plate. 


By Earl Horter 
Fig. 659. The complete subject in the four colors. 


Figs. 653 to 659, inclusive, illustrate a line four color job in which flat colors 
have been superimposed. The entire drawing is reproduced 
in the black plate, Fig. 658. 


All plates on this page are line etchings on zinc. 


240 COMMERCIAL ENGRAVING AND PRINTING 


subject and the convenience of the prover or printer by the use of trans- 
parent or opaque inks, but the lightest color is usually printed first. 

The shading machine is much used in line color work, its many pat- 
terns making it possible to get almost an unlimited number of pleasing 
and effective combinations. 

The special steps in making and proving a set of four color line 
plates are illustrated in Figs. 626 to 636, inclusive. The process in 
making a set of plates to print in a fewer or greater number of colors, 
would be exactly the same, except the number of plates in the set 
would be increased or decreased as required, and the separation of 
colors on the different plates would be such as to make the subject 
complete when all of the plates in the set were printed in the proper 
order. In ‘‘painting in” the prints on metal, the artist used the shading 
machine to obtain the tones of color, while those parts of each plate 
printing in solid color were either painted over with the resist, or 
came solid in the print, thus preventing them from being etched out, 
as were the parts of the plate that were not painted over or covered 
by the lines of the print. 

Also in Fig. 636, are examples of color combinations obtained by 
superimposing tints obtained by the use of the shading machine, while 
in Fig. 659 are examples of superimposing flat or solid colors. 

In making the plates for Fig. 636, the artist’s work on the plates 
involved only adding to what had already been obtained in the print 
on metal, the additional work being done with a brush and the shading 
machine. But in making those for Fig. 647, an additional operation 
was necessary, and that was the elimination of parts of the subject 
from the several prints, that there might be left on each only that 
part of the subject which that particular plate was to print. This was 
accomplished by erasing or scratching off with a sharp metal blade 
the lines and parts to be omitted, the erasures on each plate being made 
in accordance with the requirements of that plate. The resist, or part 
of the print, having been erased, and the metal exposed permitted it 
to be etched or routed away. As the sections for the different colors in 
Fig. 647 were drawn in outline only, it was necessary that the section 
that each plate was to print be painted in solid in the parts to print, in 
addition to erasing the parts that were not wanted in that plate. A 
comparison of Figs. 643, 644, 645 and 646 with Fig. 648 will show 
exactly what it was necessary to erase and what to paint in to obtain 
what was wanted in each plate. The four prints on metal were origin- 
ally identical with Fig. 648, and were changed through erasures and 
painting in to the forms as shown in Figs. 643, 644, 645 and 646. This 
subject, it will be noted, is made up entirely of flat colors. 

Line color work is by no means confined to the four colors chosen 
for the illustrations in this section, as the range of colors, and their com- 
binations, that may be used is unlimited, and those to be used and the 
number of them is a matter of choice. 

Plates made with the aid of the shading machine were used for 
Fig. 641, that it might be printed at the same time with the other 
illustrations in color in this section and appear in tints instead of the 
full colors as in the others. This plan can often be used to good ad- 
vantage and without any increase in cost of presswork. 


LiInE Conor PLATES 241 


Pages 233 to 240, inclusive, were printed in one form and the same 
three colors, yellow, red and blue, where they appear, were used in 
addition to black. They were printed in the order named. 

In the making of a line color job, it is obvious that there will be a 
special charge for the artist’s time for work on the plates, in addition to 
the charge for the plates themselves. The charge for artist’s time de- 
pends upon the actual time required, it being only a nominal amount 
on jobs requiring little labor but running into considerable expense with 
complicated plates. The scale price per plate on line color jobs is also 
higher than the rate for black and white work, notwithstanding the fact 
that all plates on a job are made from the same negative. The reason 
for this is that the prints on metal must be made separately and the 
plates must be etched by themselves instead of along with others that 
may be going through as one color commercial work, also because of 
the extra time required for blocking to register. 

It is usually both impractical and unsatisfactory to attempt to 
make plates from a separate drawing for each color, especially where 
an exact register is required. Not only is there the possibility that the 
drawings themselves will not register perfectly, but even though the 
drawings may be in perfect register, it will be necessary to use the 
prism in making the negatives to avoid stripping, which is attended 
with danger of shrinkage or expansion. Use of the prism entails extra 
expense. 

In estimating the size of color plates, each plate is computed as be- 
ing the same size as the key or largest plate, as they are all originally 
made on sheets of metal of the same size, although some may be almost 
entirely cut away in the process of making. 

Tint block backgrounds may be used to bring illustrations into 
sharp relief. These, if solid color, are usually cut from a sheet of zinc 
and mounted on wood. If they are to register with other plates, a proof 
or transfer is made of the key plate to the zinc, the outline is cut in with 
tool by hand, the surplus metal is routed away and the plate is blocked 
in the usual way. The etching by acid is thus eliminated. 

Often in the case of a trade mark or other similar illustration it is 
desirable to have a design that can be printed in one or two colors, as 
occasion may permit, and in either case, show a complete illustration. 
This may be accomplished by having all of the detail in the key plate, 
the second being for color only, such as background or unimportant 
decoration. 

Some drawings for line color work can be used with little or no 
change for one color plates, while others will require extensive changes. 


ONES 


*Fig. 675. 


photographically reproducing in a printing plate the details of a 

photograph, drawing, painting, or an object itself, including all 
the gradations of color. It receives its name from the fact that 
the finished engraving duplicates not only the solid blacks and whites, 
but also the intermediate gray shades or “‘halftones,”’ resulting in an 
effect that approximates an actual photograph. 

The process is comparatively new, plates made by this method com- 
ing into increasing general use about 1890. The adaptations of the pro- 
cess have been rapidly and continuously developed and it is now used 
in numerous ways both as a separate process and in combination with 
other processes of illustrating such as photolithography and rotary 
photogravure. 

The fundamental principle of the process is the photographing of 
the copy through a cross-lined screen, the various tones of color in the 
copy being translated through this negative to a print on the surface 
of a sheet of metal. After etching, the surface of the plate is made up 
of points and hollows which vary in size from the most minute pin 
points in the high lights to larger dots in the middle tones, then 
through hollows in the darker portions which decrease in size blending 
into solid color in the darkest parts of the picture as shown in Figs. 
677, 678 and 679. When the plate is inked just previous to taking a 
printed impression from it, the ink is distributed uniformly over the 
entire surface and the difference between the heavy color in the 
blacks and the light tones in the high lights is due to the open spaces 
between the dots which stand in relief and which give the printed 
impression. In Fig. 679 the subject will be more easily recognized as 
an enlargement of a part of the small halftone, shown at the lower left 
of Fig. 678, if it is viewed obliquely with the eyes partly closed. 

The gradation of color, as obtained with a halftone screen, is shown 
in the enlarged section in Fig. 677. In producing this a drawing was 
made of a panel with the air brush in which the color was blended 
from black at one end to white at the other. From this drawing an 
85 line screen halftone was made and then from a proof of this half- 
tone a line etching was made which was used in printing the illustra- 
tion shown. 


’ \HE halftone process, broadly speaking, is a mechanical method of 


*Outline-vignette halftone, 150 line. Made from a wash drawing. After the print was made on metal the lettering 
was painted over with the resist that it would print solid, or in full color. 


HALFTONES 243 


OOOO 
OO 
SOS 


OO 
OOOO) 


Combination halftone, 150 line, and line etching on copper. The halftone negative of the frame was made from a 
wash drawing, and the line negative of the ruling was made direct from a screen. The two negatives were stripped 
together and the illustration represents a section of a 65 line screen about twice actual size. 


Fig. 676. A section from the corner of a rectangular halftone 
screen with aluminum protecting frame. 


HALFTONE SCREENS 


The best screens, and those most generally used, are made of two 
planes of plate glass cemented together. Parallel lines are engraved on 
the surface of one side of each of the planes and these lines are made 
opaque by being filled with a black pigment. The two pieces of glass 
with the etched or engraved surfaces in contact are cemented together 
with a transparent cement, the lines on one piece of glass running in 
one direction and those on the other at right angles. Screens are desig- 
nated by the number of engraved lines to the inch. For instance, on 
a 60 line screen, there would be 60 parallel lines to an inch each way; 
while on a 133 line screen, there would be 133 lines to the inch. The 
apertures, or transparent glass spaces between the lines, are uniform in 
width with the engraved lines, but because of crossing, equal only one- 
quarter the area of the entire surface. The lines are usually ruled 
diagonally on the plates instead of parallel to the edges, as by so doing 
a larger negative can be made by placing the object straight with the 
screen than could be if it were necessary to expose it in a diagonal posi- 
tion in order to get the correct angle of screen lines in the halftone. 

These screens must be absolutely perfect and free from all blemishes 
or scratches of any nature, and those that are in constant use must be 
sent to the maker occasionally to be taken apart, cleaned, polished 
and re-cemented; otherwise the defects in the screen would be repro- 
duced as defects in the printing plate. 


Line etching on zinc. Made from proof of an 85 line halftone. A direct enlargement. 


Fig. 677. Enlarged section of halftone showing manner 
of gradation of color, 


244. COMMERCIAL ENGRAVING AND PRINTING 


The screens most commonly used are 60, 85, 100, 120, 133 and 150 
line. Some engraving establishments vary their standard sizes a few 
lines from those mentioned, the variance being largely a matter of per- 
sonal choice. Screens coarser than 60 line are in use by some, and the 
usual run of commercial work is seldom made with finer than 150 line. 
Screens of 120 to 133 line are regarded as medium and suitable for a 
greater number of uses than those that are finer or coarser. 

Different screens are employed because no one screen is adapted to 
all classes of work. The finer the screen the less apparent is the break- 
ing up of the image into dots, and where a very fine screen is used it is 
almost impossible to detect this dotted or ‘‘screeny”’ effect with the 
naked eye. The coarser the screen used, the more the detail that will 
be lost in the reproduction. Much depends upon the paper and ink to 
be used in the printing. A fine screen halftone properly printed on a 
high quality of enameled paper will give the most nearly perfect re- 
sults, but if improperly printed, or with a poor grade of paper and ink, 
it will be almost black and lose its character. Coarse screen halftones 
may be used on good quality of paper, but the print will be coarse and 
detail will be poor; while fine screen halftones when printed on cheap 
paper will fill up, smut, and produce very poor results. It is desirable, 
therefore, to use as fine a screen as the grade of the paper and the prob- 
able skill of the printer will warrant. Poor printing will, as a rule, be 
less likely to spoil a coarse screen picture than a fine one because it is 
less difficult to handle. The coarser the paper and the thinner the ink, 
the coarser the halftone should be; and the finer the paper and stiffer 
the ink to be used, the finer the screen in the plate may be. Those not 
familiar with results to be expected from the different screens should, 
when ordering plates, send a sample of the paper they are to be used on, 
or tell for what purpose they are to be used, so that the engraver may 
decide what screen to use. When they are to be used in publications, 
it is not sufficient to say that they are to be used in newspaper, farm 
paper, magazine or business periodical, as the screens used in any class 
of publications vary greatly and it is best to name the publication in 
which they are to be used. 

The 60 line and other very coarse screens are adapted to making 
halftones for newspaper work and any other in which the plates are to 
be stereotyped or used on the coarser finish papers. The 85 to 100 line 
screens are adapted to plates for use in country newspapers that do not 
stereotype, or for printing on a fairly good grade of news, or low grade 
book paper on a flat bed press. The 120 to 133 line screens are well 
adapted for plates to be used on medium grades of book paper, un- 
coated book and the lower grades of coated papers. Screens finer than 
133 are used in making plates for use on the highest grades of enameled 
book stock. Screens as fine as 200, 300 or 400 line are seldom used for 
commercial work, their use being confined almost exclusively to the 
reproduction of scientific subjects. 

In addition to the selection of the screen of proper ruling, halftones 
to print on bond, dull coated enamel, hard finish and other special 


Pages 241 to 256, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


HALFTONES QA5 


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Square-outline halftone, 175 line, no line. Made Line etching on zinc. An enlarged line negative was 
direct from the surface of the plate used in printing made from a print from the small halftone in lower left of 
Fig. 679. Lower left, square halftone, 120 line, no line. Fig. 678, and the etching was made from an enlarged 
Made from photograph. black and white bromide print from this negative. 
Fig. 678. Fig. 679. 


The printing surface of a small halftone (lower left) as it would appear when 
greatly enlarged (left), and a print (right) from the enlarged plate. 


246 COMMERCIAL ENGRAVING AND PRINTING 


The halftones for Figs. 680, 681, 682 and 683 are square finish with line, and all were made from the same photograph. 


Fig. 680. Halftone on copper, Fig. 681. Halftone on zinc, 
60 line. 60 line. 


Fig. 682. Halftone on copper, Fig. 683. Halftone on zinc, 
85 line. 85 line. 


Comparison of halftones made on copper and zinc. 


papers, should be made special for these papers and the engraver should 
be so advised when they are ordered. 

Coarse screen halftones, not finer than 100 line, are usually made on 
zinc, if speed and economy in production are factors, but all halftones 
that are made for best printing results should be made on copper. 


HALFTONES 247 


[eee 


For news and other low grade papers. Stereotypes and For news and the lower grades M. F. papers. Electro- 
electrotypes well. Used by most of the metropolitan types well; stereotypes fairly well. Used by some metro- 
daily newspapers and some agricultural papers and mail politan daily and most country newspapers, and by 
order magazines. many agricultural papers and a few magazines and 

business periodicals. 

Fig. 684. Halftone, 60 line screen. Fig. 685. Halftone, 85 line screen. 


For M. F. and the lower grades of super calendered For M. F. and super calendered book and cover 
book papers. Electrotypes well. Used by many agri- papers. EHlectrotypes well. Used by some agricultural 
cultural papers and some magazines and business papers, magazines and business periodicals. 
periodicals. 


Fig. 686. Halftone, 100 line screen. Fig. 687. Halftone, 110 line screen. 


2A8 COMMERCIAL ENGRAVING AND PRINTING 


For super calendered, dull finish coated, and the 
lower grades of gloss enamel coated book papers. Elec- 
trotypes well. Used by many business periodicals and 
magazines and a few agricultural papers. 


For super calendered book papers. Electrotypes well. 
Used by many magazines and business periodicals and a 
few agricultural papers. 


Fig. 688. Halftone, 120 line screen. Fig. 689. Halftone, 133 line screen. 


an es 


oa 


Rapier 8 OE Fed a Sc 


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For enamel coated book paper. If electrotyped, For enamel coated book paper. If electrotyped, } 
should be by the lead mould process. Used for fine should be by the lead mould process. Used for fine A 
catalogs and by a few magazines and business papers. catalog and other high-class work. 

Fig. 690. Halftone, 150 line screen. Fig. 691. Halftone, 166 line screen. 


ee 


HALFTONES 249 


| : 
Fig. 692. Halftone, 175 line screen. Fie. 693. Halftone, 200 line screen. 


Fig. 695. Halftone, 400 line screen. 


Fig. 694. Halftone, 300 line screen. 


The screens shown on this page are adapted to use on only the highest grades of enamel coated paper. Should not 
be electrotyped but if attempted, should be only by the lead mould process and then with the most skillful and pains- 
taking care. Used for fine catalog and bulletin work where minute detail in microscopical, scientific and similar work 
is necessary. They require great care while printing—careful makeready, frequent wash-ups and slow production. 


Halftones for Figs. 684 to 695, inclusive, are square finish, with line. 


250 COMMERCIAL ENGRAVING AND PRINTING 


Halftones made with coarse screen on zinc are less expensive than half- 
tones made on copper with the same screens, because the etching can 
be done in less time, there is usually no re-etching, and the metal used 
is less expensive. Such halftones when made for newspaper use are 
sometimes called newstones, or quartertones. 

The coarser the screen, the deeper the plate can be etched, hence 
the better it can be electrotyped, the easier to print cleanly and sharply, 
and the longer it will wear. Fig. 696 very clearly shows how the 
middletone points in a halftone gradually widen as they are etched 
down and how when the points are closer the hollows between must be 
shallower. The sides of the points in a good printing plate should 
taper in this manner, otherwise there would be ‘‘under cutting’’ and 


SHALLOW 
COARSE FINE UNDERCUT UNDER 
ETCHED 


Line etching on zinc. Made from pen drawing. 


Fig. 696. Enlarged cross-section views of halftones, illustrating depth 
of etching, undercutting and shallow etching. 


the points would break off, or would cause the plate to “‘pick”’ the 
paper, or tear the mat or mould in being stereotyped or electrotyped. 

To the eye the screen in prints from very small plates appears much 
coarser than the same screen when used in a very large plate, and a 
coarse screen used in a large plate of a subject with large detail, appears 
much finer than it really is. A small plate is easier to print than a 
large one. It is sometimes practical, therefore, to order a little finer 
screen for very small plates, or a coarser screen for very large plates, 
than would ordinarily be ordered for plates of medium size to be printed 
on the papers adapted to these screens. 

It is practically impossible for even the experienced with the aid of 
a magnifying glass to determine definitely and readily the line screen 
used in a specimen submitted. With the aid of the ruled segments 
printed on the outer margin of pages 252 and 253, the screen used in 
making any print or plate may be readily determined by placing the 
edge of the page over it and matching the lines of a segment with the 
rows of dots in the plate or print. The comparison can of course be 
more readily made with the aid of a magnifying glass. 

Screens are made in various sizes from 34% x 4% inches to 20 x 24 
inches and larger, as well as in different rulings per inch. The sizes 
most used for commercial work are II x 14, 12 x 15, and 14 x 17, while 
newspapers and establishments which make a specialty of large plates, 
have the larger sizes. 

As the best screens are expensive and require the greatest of care in 
handling, it is obvious that it is not wise for an engraver to make an 
investment in screens for which he will have little use. Therefore, it is 


Pages 241 to 256, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


HALFTONES day 


Square finish halftones, 100 line, no line. Both made from the same photograph. 


Fig. 697. Halftone with lines of Fig. 698. Halftone with lines of screen 
screen at angle of 45°. running vertical and horizontal. 


to be expected that some establishments may not have every ruling 
that might be called for, or that they may have the rulings called for, 
but not in sizes large enough for some plates that might be ordered. 


MAKING THE NEGATIVE 


The first step in making a halftone after the copy has been pre- 
pared, is making the halftone negative. The copy is attached to the 
copy board in front of the camera, so placed that the lines of the screen 
which will be reproduced in the negative, along with the copy, will be 
at an angle of forty-five degrees to its perpendicular. This angle is 


Square finish halftone, 150 line, no line. Made from a slightly retouched photograph. 
Fig. 699. Replacing ground glass with holder containing sensitized 


plate preparatory to making a halftone negative. The 
screen is in position in the camera. 


L75 


*Fig. 700. Key with which to determine the screen used in halftone plates or prints. 


yay: COMMERCIAL ENGRAVING AND PRINTING 


used because experience has shown that it most nearly eliminates the 
“screeny’’ appearance of the print. This is illustrated in Figs. 697 
and 698, both of these halftones having been made with the same screen 
and under exactly the same conditions excepting the angle of the screen. 

The camera, with the proper screen just in front of the ground glass, 
is then focused to obtain proper size and sharp detail on the ground 
glass, the same as in making photographic negatives, after which the 
ground glass is removed. The plate holder is then placed in the camera 
so that the plate occupies exactly the same position as was occupied 
by the ground glass. The light is turned on the copy and exposure is 
made, the time of exposure varying from five to ten minutes, depending 
upon the nature of the copy, screen used, plate, condition of bath 
used in coating the plate, etc. 

A wet plate is used in making the negative, that is, a plate which the 
operator has coated with collodion and sensitized, and which is used 
while still moist. Wet plates are used almost exclusively for making 
halftone and line negatives, as a matter of economy, because the glass 
after being stripped of the film can be thoroughly cleaned, resensitized 
and in like manner used over and over again, all at much less cost than 
dry plates. 

As daylight is unreliable, because of its variance in intensity and 
direction, arc lamps are used almost entirely by photo-engravers in 
making their halftone and line negative exposures, and for making 
the prints on metal from these negatives. The use of daylight is also 
limited to the time of day and the season of year while the arc lamp is 
available for constant use and allows for variety in control. 

The cross lines of the screen intercept the light and each minute 
square between them acts as a diaphragm through which the light from 
the camera lens passes to the negative and forms on it in very small 
compass that part of the image as seen through the lens diaphragm or 
light opening. The properties of the light are such that while the open- 
ings between the lines of a given screen are all of the same size, yet by 
manipulating the distance of the screen from the plate, and the 
diaphragm, the stronger rays which come from the high lights of the 
copy spread out and make larger dots in that part of the negative, 
while those from the dark spots of the picture make an impression 
upon it that appear as a series of microscopic points. In the print 
made on the plate from the negative these conditions are reversed and 
the high lights are represented by the smallest pin points, which grow 
larger as they blend off into the darker tones and then converge into 
hollows or openings which decrease in size through the shadows to a 
solid surface in the blacks. 

In this manner the image on the negative is cut by the cross lines 
of the screen, the size of the small exposed dots corresponding to 
the ruling of the screen used and the manner in which the light has 
spread as it reached the negative through the screen. The opaque 
lines in the screen produce white or transparent dots in the negative, 
which in turn produce black dots in the print on metal. 

*Lead mould steel faced electrotypes were used in printing Figs. 700 and 701. They were so placed in the form that 
the outer edges of the prints would trim to bleed off the edges of the page when the book was trimmed. In making the 
double print square halftone from which they were made, one-way screen halftone negatives, made from a plain light 


gray ground, were stripped together. Proofs from type of the numbers were arranged for double printing. The white 
lines between segments were cut with a tool. 


HALFTONES 253 


Different copies require different handling in making the exposures 
and there are many ‘tricks of the trade’”’ which the halftone operator 
must master before he is able to obtain the best possible results from 
all classes of copy. Many conditions arise, due to the nature of the 
copy, that make it impossible to follow one set of hard and fast rules. 
Very often as many as three exposures are required in making the same 
negative: one with diaphragm, or opening, to record properly the 
normal or middle tones, another with a smaller stop for the shadows 
and a third with a larger opening for the high lights. Usually the first 
exposure is for the shadows, and in making this a sheet of plain white 
paper is held just in front of the copy. If the plate was developed and 
finished at this stage the result would be similar to that shown in sec- 
tion A of Fig. 703. If the entire exposure was made with the middle 
tone stop, the result would be as in section B, or if the high light stop 
was used exclusively results would be as in section C. The result in 
section D is from a combination of the three exposures. 


THE NEGATIVE 


After the negative has been developed and dried, if the background 
is to remain in the halftone as it is in the copy, and it is to be finished 
with a black border line, the negative is usually trimmed and squared 
up before stripping. While in many establishments this squaring up 
and trimming is done with a knife and T square, the device shown in 
the illustration greatly expedites this work, and insures that it will 
be a perfectly squared film to proper dimensions. 

As only the part of the plate covered by the print from the halftone 
negative will etch, the surrounding surface being covered with the 
enamel, or resist, when the plate is to be finished with a line, in trim- 
ming the plate, after etching, sufficient of the surrounding blank 
metal is left to provide for the solid black line. There is a device on 
some beveling machines for raising a solid black line from an etched 
surface, and it is possible to add a thin black line around a plate that 
has been made without a line, both being practical under certain 
conditions. 

In marking out and trimming the negative, it is placed face up on 
a piece of thick ground glass, under which an electric light is placed to 
illuminate the negative. The film is so placed that the margin on it is 
in proper position to be squared up following the lines of the parallel 
rulings or figures on the device, one pair being used for marking length- 
wise and the other for marking crosswise. 

Negatives for halftones in which the background is to remain, but 
which are to be finished without the black border line, and those that 
are to be finished in outline or outline-vignette, may be cut out roughly, 
leaving ample margin all around, the trimming to actual size being 
done when finishing the etched plate. The print on metal in Fig. 705 
shows the manner in which the negative was trimmed from which 
that print was made. The upper part of the subject that was to be 
finished with the black line (see Fig. 713) was carefully trimmed, while 
the lower part that was to be outlined and vignetted was indifferently 
cut. The solid black is the blank metal not covered by the negative 
but coated with the resist. 


Y 


‘syurid 10 sojejd su0}j{eY UI posn UseI9s oY} auTIUIE}0p 0} YoY YIM AO “TOL “SIA. 


254 COMMERCIAL ENGRAVING AND PRINTING 


Square finish halftone, 150 line, no line. The negatives, all of which were made from the same photograph, were 
stripped together, and the reference letters were cut in the finished plate with a tool. 


Fig. 703. Showing results obtained from different exposures 
when making a halftone negative. 


COATING THE NEGATIVE 


After the negative film has been coated with a solution of chemi- 
cally prepared liquid rubber and stripping collodion to give body to the 
film, it is allowed to dry thoroughly and is then cut. The plate is then 
placed i in a weak solution of acetic acid and allowed to soak until the 
film becomes loose, that it may be readily removed from the glass. 


STRIPPING THE NEGATIVE 


Then the film is stripped off the original negative glass and placed 
upon a piece of plate glass, turning the film in the operation. If the 
film were not turned, the finished halftone would print backwards. 


REVERSING OR TURNING THE NEGATIVE 


Oftentimes it is to be preferred that a subject be made to print 
‘“‘reverse’’—that is, to face the opposite direction from that shown in 
the copy. This is accomplished by not reversing the film when it is 
stripped. Many prefer to have all portraits face inward rather than 
towards the outer edge of the page and this can be readily arranged by 
reversing or not reversing as the case may require. Care must be exer- 
cised in selecting subjects to be reversed, as lettering or text on a 
reversed subject will read backwards, unless it is drawn backwards on 
the original; a right handed man will be made left handed, and similar 


HALFTONES 255 


awkward situations will result if reversed plates are ordered without 
giving advance thought to what the results are going to be. 


STRIPPING NEGATIVES TOGETHER 


While the size of the screen limits the size of the negative that may 
be made through it, oftentimes in making a large plate, two or more 
negatives may be made for different parts of the reproduction and these 
so cleverly stripped together for making the print on metal that the 
lines between are hardly noticeable. Thus, the size that a halftone 
may be made in one piece is limited only by the size of the sheet of 
metal that can be handled, and if the halftone is made in different 
pieces and patched together in mounting, its size is limited only by the 
size of the press that is to print it. 

The nature of the subject will determine the practicability of strip- 
ping or patching. It would of course be impractical to attempt to strip 
together several sectional negatives to make a face or a subject made 
up of delicate tones, but when there are lines to follow in cutting the 
film, such as the outlines of buildings or other objects, little difficulty is 
encountered in stripping. It is practically impossible to patch finished 
plates of different sections together without the patch showing so dis- 
tinctly as to mar the appearance, but some subjects lend themselves 
better to this than others. This patching is accomplished usually by 
sweating the perfectly fitted sections on a thin metal base and then fill- 
ing the grooves between with solder, which is tooled and finished as 
may be necessary to make the joint as nearly perfect as possible. 


RETAINING NEGATIVES AND MAKING DUPLICATE PLATES FROM THEM 


The negatives from which halftones are made are usually not held 
more than a few days after the plates are finished, unless the customer 
gives special instructions that they shall be; as to save all negatives 
would soon mean even with a small engraver such an accumulation of 
plates that they could not be cared for. 


Square finish halftone, 150 line, no line. The halftone negative for the view at the left was made direct from the 
negative shown, and that for the right from a slightly retouched photograph—the two negatives being stripped together. 


Fig. 704. The negative (left) and device (right) for trimming 
and squaring halftone negatives, 


256 COMMERCIAL ENGRAVING AND PRINTING 


Square finish halftone, 133 line, no line. The view at left was made from a slightly retouched photograph and 
that at the right direct from the print on metal. The negatives were stripped together. 


Fig. 705. Making the print on metal (left) in a vacuum 
printing frame and the print (right). 


The discount engravers grant on duplicate plates is allowed only 
when the duplicates are ordered at the same time as the original. It 
is given because of labor saved if all are made at one time. If the order 
for duplicates is given later, it often would mean more work to look up 
the original negative, re-strip it, etc., than to make a new negative. 


MAKING THE PRINT ON METAL 


Next a sheet of polished metal, usually copper, a little larger than 
the stripped negative, is sensitized and a print made on this from the 
negative in the same manner in which the print is made on metal for 
a line etching. This print on the polished surface of the metal repre- 
sents the picture or image as it is to print finally except it is in a re- 
versed position. After being developed it is baked or hardened, while 
being held over a gas flame, the print forming a surface which acts 
as a resist to the acid used in etching. The metal surface not covered 
by the lines and dots in the print is left exposed to be eaten down by 
the acid, the parts covered by the print being left in relief as the plate 
is etched, thus forming the printing surface of the plate. 


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Square finish halftone, 150 line, no line. A line negative was made from a positive of a small section including a part 


of the word “Philadelphia” of the negative as made for Fig. 713, enlarging to the above size. A print was made on 
metal from this negative and the halftone was made direct from that print. 


Fig. 706. An enlarged section of a print on metal from a halftone negative. 


ee a 


HALFTONES 257 


Many of the striking combination effects that are seen in the adver- 
tisements carried in the magazines and trade papers are produced 
through special manipulation when stripping, printing or etching, or a 
combination one with another, or all. Text that is to print in black, 
as a part of a halftone or combination design, is seldom drawn as a 
part of the design with which it is to appear, but is drawn separately 
as if for a separate plate and the two are combined by double printing. 

Halftone negatives are also frequently stripped into negatives of 
line borders, and often a design is made up by stripping together 
negatives from several different pieces of copy. 


ETCHING THE PLATE 


The back and edges of the metal plate on which the print has been 
made, and the margins on the face of it, are now painted with a resist, 


Square finish halftone, 150 line, no line. Made from an unretouched photograph. 


Fig. 707. Staging and re-etching. 


usually asphaltum, to prevent the acid from affecting these parts. 
The plate is then placed in a chloride of iron bath, which is caused 
to flow gently back and forth over the surface by the aid of a soft 
brush, or by rocking the tray, or in an etching machine where it is 
subjected to washes or sprays of acid, the acid meanwhile eating out the 
metal between the dots and lines in the print on the plate. Fine screen 
halftones are not powdered and etched as are line etchings. In etching 
a halftone plate, the first bite is known as a flat etch, just enough depth 
being given in this operation to get the depth required for the shadows. 


RE-ETCHING 


The parts that are to print in solid color are painted over with a 
resist before being flat etched. After being flat etched, the plate is 
taken from the acid bath and washed with water to remove all acid. 

The etcher then proceeds to re-etch the plate by applying the acid 


258 COMMERCIAL ENGRAVING AND PRINTING 


with brush or tuft of cotton saturated with acid to the different parts 
of the plate, obtaining the contrast and detail that are desired. Each 
application of the acid to any particular part, of course, lightens that 
part in the print from the finished plate, because the points in the high 
lights are thus etched away and diminished in size with the additional 
application of the acid and the hollows in the shadows enlarged. Shad- 
ows and parts that are to be held so they will print in strong color, or 
the same tone as obtained in the print are ‘‘staged,’’ i. e., painted over 
with a resist so that they may not be affected while the remainder of 
the plate is being etched, or that the etching of these parts may be so 
regulated as to obtain the effects sought in the finished plate. 

After the plate has been re-etched to obtain the desired results, it 
is again placed in the acid and etched to obtain depth. For service- 
ability good depth to the etching is very essential. Also the proper 
treatment of high lights and shadows in order that the printing results 
may be pleasing, and the careful treatment of details that they may 
print as clearly as possible, are features of re-etching that require 
considerable skill and experience on the part of the workman. 


ETCHING MACHINES 


Machines are also used for etching plates, there being several 
different makes in use, and all of which are recommended for copper 
halftones and copper halftone and line combination plates. Some of 
the machines are also extensively used for etching zinc plates. 


Square finish halftones, 150 line, no line. Both made from the same photograph, and both were flat-etched as 
shown by Fig. 708, after which that for Fig. 709 was re-etched. 


Fig. 708. Flat etched. Fig. 709. After re-etching. 


HALFTONES 259 


Outline-vignette halftones, 150 line. Made from retouched photographs. 


Fig. 710. Closed (left) and open (right) views of the 
Century etching machine. 


One make of machine (Fig. 710) drives the plate vertically (up and 
down) in and out of the etching fluid face down; in another the tray 
works in a rocking motion and has a corrugated bottom, forcing the 
acid up into the plate which is held face down; another splashes the 
acid against the plate with a revolving paddle; in another the etching 
solution is forced against the face of the plate in sprays by compressed 
air, while in another the results are accomplished electrically. 

The machine also prevents the spread of the fumes incident to 
etching, shortens considerably the time required in the operation, al- 
though staging and re-etching are required the same as in etching in 
a tray. 

OUTLINING THE PLATE 


If the plate is to be a square finish halftone the surplus metal is cut 
away with a saw, or guillotine shears, and it is then trimmed and 
beveled around the edges to provide shoulders for tacking it to the block 
on which it is to be mounted for use on the printing press. 

If the plate is to be finished with a border line, the unetched metal 
that has been left outside the part that is to print is trimmed to leave 
just sufficient of it for the line, which is finished to uniform width. 
Usually a white line is cut just inside and between the black line and 
the etched surface of the plate by a ‘‘lining’’ attachment on the beveler, 
the corners being finished by hand; or it is cut with a hook by hand. 

If the plate is to be finished in outline or vignette, the etched plate 
goes to the finisher from the etcher and the background to be removed 
is separated from the part that is to remain in the plate, by “outlining” 
with a tool, indicating to the router the parts that are to be routed 
away so as to leave only that part of the plate that is to be used in 
printing. 


Pages 257 to 272, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


Square finish halftone, 150 line, no line. The view at left was made from a slightly retouched photograph, and that 
at right from a black on white print from 150 line screen halftone, 3 in. wide. The twe negatives were stripped together. 


Fig. 711. Beveling (left) the straight edge of a plate and 
a beveling and lining machine (right). 


The background outside the image that is to print, 1. e., all back- 
ground which the finisher has indicated to be cut away, is eliminated 
by the use of the routing machine. 

In finishing plates of machinery and other subjects there are often 
sections of background showing through between parts which are to be 
removed. This necessitates tooling separation lines between the parts 
that are to remain and those that are to be routed away. This is termed 
inside routing and tooling and an extra charge is made for it. 

The plate is then taken up by the finisher, who tools the burrs off 
the edges and removes the little spots that may appear on the face of 
the plate, which may have been caused by particles of dust getting on 
the negative or print. 

By rubbing magnesia into the face of the plate the image on it is 
brought out more clearly, after it has been flat etched, and the etcher 
is thus guided. in his work as is also the finisher. A plate is often 

chalked”’ and washed out several times between flat etching and 
proving in order that the plate may be finished properly. 

The plate is then proved and passes final inspection, before being 
blocked and delivered to the customer. 

The old fashioned Washington hand press, in a modern form of 
development, is used in proving halftones and line etchings. The same 
press is also used extensively by printers in taking proofs of page forms. 
Process color plates, however, are usually proved on a platen job press, 
one with good ink distributing facilities, that the prints obtained may 
better show the results to be expected under printing conditions. 

Unless otherwise ordered, halftones are mounted on wood, type 
high, for delivery. If special instructions are to be given for mounting, 


— ae ow ee 


m2 


HALFTONES 261 


they should be specified at the time the order is given, as to comply 
after the work is finished may entail additional expense because of 
bevel or mounting margins having been trimmed away. As a rule 
small plates, single column and under, are nailed to the block through 
the bevel at top and bottom, and the plate and block are trimmed 
flush to the edge of the printing surface on the sides, while large plates 
are beveled and nailed on all four edges. 


FINISH OF HALFTONES 


A variety of pleasing effects in halftones may be obtained by the 
use of different styles of finish, many of which are illustrated under 
‘Methods of Treatment,” particularly Figs. 338 to 401. Various 
types also are shown throughout the book. The style of finish refers 
to the manner in which the outer edges of the plate are left in the 
finished engraving. The simplest and the cheapest is the square half- 
tone. ‘“‘Square finish’’ does not necessarily mean a square plate, but 
is a term used to define a rectangular halftone. It may or may not 
have a thin single black line border without extra expense. 

A plate with all the photographic background cut away, leaving 
only the object illustrated to print, is termed an outline finish halftone. 

A plate with the edges blending off on all sides through a tint to 
the paper on which it is printed is known as a vignette. Such plates 
should be ordered only when the subject lends itself to such treatment, 
and when paper, ink and presswork are to be of the highest grade. 
Copy for vignetted halftones must be vignetted before the plates are 
made. Some photographs are vignetted by the photographer but usu- 
ally the work is done by the engraver’s artist, and for this an extra 
charge is made in addition to the charge for the plate. 

With some subjects a part of the picture may be vignetted and a 
part outlined, especially in the case of vehicles, buildings, machinery, 
etc. A plate combining the different styles of finish is known as square- 
vignette, outline-vignette, etc., and in ordering, specific instructions 


Square finish halftone, 150 line, no line. The view at left was made from a section of the plate in Fig. 713, after it 
was outlined and ready to rout, while that on the right was made from the same section after it was routed. The two 
negatives were stripped together. 

Fig. 712. Sections from an outlined (left) 
and routed (right) plate. 


262 COMMERCIAL ENGRAVING AND PRINTING 


_ Qutline-vignette halftone, 133 line. Made from a slightly retouched photograph on which the background and 
vignette was drawn. 


Fig. 713. A print from the completed halftone. 


HALFTONES 263 


should be given as to which style of finish is wanted, and if a combined 
finish is desired the parts should be carefully designated on a sheet of 
tissue placed over the copy. 


TOOLING AND BURNISHING 


Much skillful work may be done in the finishing of some halftone 
plates, greatly enhancing the appearance of the print from it, by hand 
tooling (cutting out) the high lights here and there, tooling background 
and burnishing (rubbing down) shadows to get more effective contrasts. 
Such finishing is usually confined to plates for the highest class of work 


Square finish halftones, 150 line, no line. Both made from the same oil painting. 


Fig. 714. Fig. 715. 


The ordinary re-etched halftone, Fig. 714, and a duplicate 
halftone tooled and burnished, Fig. 715. 


and is regarded as extra, hence an additional charge is made for it, de- 
pending upon the amount of workman’s time required. A halftone 
that has been worked over in this manner by an expert engraver is 
sometimes called a hand engraved halftone. 


MEZZOGRAPHS 


A mezzograph is a printing plate made on the same principle as the 
halftone, being handled in precisely the same way except that instead 
of using a cross lined glass screen in making the negative a ‘‘mezzo- 
graph”’ or grained screen is employed. This does away with the geo- 
metrical line effect noticeable in halftones, particularly in the coarser 
ones. The mezzograph is used chiefly for tint or color plates to work 
with old or new plates and for reproducing prints from halftones, wood 
or steel engravings, where if the ordinary halftone screen were used it 
would be likely to give a pattern or moire effect. It is also used to 


264 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 716. Mezzograph made with Fig. 717. Mezzograph made with 
No. 3 screen. No. 4 screen. 


Fig. 718. Mezzograph made with Fig. 719. Mezzograph made with 
No. 5 screen. No. 6 screen. 


All plates on this page are square finish, with line, and all were made from the same photograph as used for Figs. 
684 to 693, inclusive. In stripping the negatives for the above plates the films were not turned, or reversed. 


HALFTONES 265 


some extent in the preparation of plates for offset printing, but is not 
adapted to general use for halftones for ordinary letterpress printing. 
Mezzograph screens may be used for making plates of leather, 
cloth or other textures likely to pattern with the regular line screen, 
also for crayon and pencil drawings, architects’ sketches, and for some 
kinds of fashion plates, and exterior views where foliage predominates. 


Square finish mezzograph, No. 3 screen, no line. The view at left was made from a photograph, that in upper right 
from a print from a wood engraving same size, that in lower right from a halftone print, 133 line, same size, and the back- 
ground and border from a piece of imitation leather, same size. The four negatives were stripped together. 


Fig. 720. Mezzograph reproduction of a photograph, prints from wood 
engraving and halftone, and imitation leather. 


They are printed in the ordinary way on the letterpress, and may be 
made with fine, medium or coarse screen, there being a variety of grain 
textures procurable. 

THE PHOTOTONE 


This is the trade name for a special halftone which may be made 
on either zinc or copper. While any line halftone screen may be used 
in making the negative a special attachment, which is furnished by 
the patentee, is used on the camera in making the negative. The 
remaining steps in the process are the same as in making the ordinary 
halftone. The points and depressions on the printing surface of the 
phototone plate are elongated, instead of round as in ordinary halftone. 


266 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette, 150 line. Made from a retouched photograph. 


Fig. 721. Horizontal one-way screen halftone. 


€ 


— wee) 


Square finish, with line. Made from a photograph of a wash drawing. Note that the screen appears finer in the 
shadows and middle tones than in the highlights. 


Fig. 722. A Phototype. 


Square finish halftone, 85 line, with line. Made from the same photograph as used for making Fig. 722. 


Fig. 723. Halftone for comparison with Phototype. 


Pages 257 to 272, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


HALFTONES 267 


LITHOTONE OR ONE-WAY SCREEN HALFTONE 


This is the trade name given to a special halftone the printing 
surface of which is made up of lines instead of dots as in the ordinary 
halftone. As the same equipment is used in making them that is used 
in making the ordinary halftone, they may be made with screen of any 
ruling and on zinc or copper. The regular ruled halftone screen is 
used, the single line effect being obtained through a special stop used 
in the lens while the exposure is being made. The prints from such 
plates have an effect somewhat similar to wood engravings and some 
claim they have advantages over the ordinary halftone for printing 
on the less highly finished papers. The one-way screen is often used 
also to produce novel effects and it may be made to print at any angle 
desired by simply turning the copy to obtain that angle, when making 
the negative. 

PHOTOTYPES 


This is another special plate, the use of which is somewhat limited, 
made by the halftone process, but a special screen is used. It is claimed 
that the negatives are made in such a way that no staging or re-etch- 
ing is required in the process and that the plates have advantages over 
the ordinary halftone for printing on the lower grades of paper. Some 
designate the plates made by this method as split-screen halftones 
and only a comparatively small number of shops are equipped to 
make them. 

THE PRISM 


In the making of negatives for process color plates, or the negative 
for any kind of plate where absolute accuracy in size is required, a 
prism is used on the lens to make it unnecessary to strip the negative 
in order that the image in the finished plate print in correct instead 
of reversed position. This is a mirror device which is attached to the 
lens, and which reverses the image as it is thrown on to the negative 
plate. In using the prism it is necessary to turn the camera at right 
angles with the copy. In the stripping of a film there is always more 
or less stretch or shrinkage. Hence to obtain accurate size, or to 
make the negatives of a set so that the plates made from them will 
properly register with each other, it is necessary to make them so as 
to avoid stripping. 

While there would be some advantage in using a prism to prevent 
stripping ordinary one color work, its use would increase the cost of 
small plates. If variance in size, due to stripping is forbidden, it 
would prevent the assembling of work which can be grouped and put 
through several operations, such as printing and flat etching, on one 
plate, and would make it necessary to put each subject separately 
through the several operations that follow the making of the negative. 


COPY FOR HALFTONES 


Copy for halftones may be photographs, straight or retouched; 
wash, pencil, crayon, or pen and ink drawings, oil paintings; prints pro- 
duced by other processes, such as photogravure, lithography, steel en- 
graving, or halftone; or even the objects themselves. All copy for com- 


268 COMMERCIAL ENGRAVING AND PRINTING 


~<a 


Square-outline halftone, 133 line, no line. Made from a slightly retouched photograph. Negative was made from a 


print from a halftone of the prism alone, and this was stripped into position as shown. The background in circle around 
the prism was tooled and routed out. 


Fig. 724. A prism in use on the lens. 


mercial illustrations should be clear, sharp and distinct. As the making 
of a halftone plate is a photo mechanical process, the reproduction 
shows just what is in the copy that is being reproduced. It is apparent 
that good plates cannot be made from poor copy, although improve- 
ment in plates over copy is sometimes possible. If the copy is lacking 
in strength and character, the finished plates will usually be lacking in 
the same essentials. Imperfection or distortion may often be corrected 
or changes in detail made by artist’s work in retouching the copy. 
Such changes of course call for extra expense as they necessitate extra 
as well as careful and skilful work. When possible the copy furnished 
should be larger than the plate to be made from it. This will permit 
of reduction so that small imperfections, such as brush marks and 
imperfections in lines may be subdued and will thus not be apparent 
in the finished engraving. Greater reduction is required for this when 
reproducing retouched photographs or wash drawings than is necessary 
for photographs that have not been retouched. 

When halftone reproductions are to be made from colored copy, 
such as paintings, prints in color or subjects in which color values are 
to be correctly retained, it is usually necessary first to photograph the 
copy using panchromatic plate and color screen. It is also frequently 
necessary to do retouching on the print from this negative before mak- 
ing the halftone negative from it. 

Photographs from which halftones are to be made for use in news- 
papers should have light backgrounds, if backgrounds are to be repro- 
duced in the plate. Dark backgrounds in newspaper plates have a 
tendency to fill up and smut and do not print well and should either be 
lightened by retouching the photograph, or be routed out of the plate 
in finishing. 

Subjects with very light or gray hair, baldheads, white dresses, etc. 
make up better if they have been photographed with dark or medium 
backgrounds, and printing results are better if made in square finish 
halftones than if outlined. If made in outline finish there is a possibil- 


HALFTONES 269 


yereeay 
Mer eenoxe: 


See: 


Seca 


Se ee 


Double print square finish halftone, 133 line, gray border. The several prints were mounted as shown on a gray 
card and proof from type was arranged for double printing. 


Fig. 725. Halftone reproduction of various kinds of prints, 
same size as copy. 


270 COMMERCIAL ENGRAVING AND PRINTING 


ity of the edges printing dark and dirty because of the delicate color 
which must end abruptly on the printed sheet and cannot be vignetted 
or blended away. 

Very often, when making an outline halftone of a subject in which 
the outlines are not clearly defined in the photograph, it is necessary 
for the engraver’s artist to paint in lines indicating the outlines, that the 
halftone finisher may have proper guidance for outlining the halftone 
plate. Also it frequently happens that an outline, or a square halftone, 
is to be made from a copy that has been retouched or prepared for a 
vignette or an outline-vignette plate. In making an outline plate 
the treatment of the background in the copy does not matter, since 
it is all routed out anyway, but before making a square finish half- 
tone it would be necessary to clean up the background by retouch- 
ing in such parts as are to be reproduced, if this was not done when 
the copy was originally prepared for reproduction. 

Blue prints from photographic negatives should not be offered to 
the engraver for reproduction by the halftone process, unless it is 
impossible to obtain a photographic print of the subject. They can be 
reproduced, sacrificing quality, and at an extra expense for re-photo- 
graphing on a special plate, using a color filter, and a print from the new 
negative from which to make the halftone. 

The success attained in reproducing prints which have been made 
by different processes varies greatly. The color of the copy, its size, 
the surface and color on which it has been printed, the size the repro- 
duction is to be made, whether the line or halftone method must be 
used and the purpose for which the new plate is to be used are some 
of the conditions that must be reckoned with. « In Fig. 725 are shown 
reproductions of a number of different kinds of prints. Subject ARO 
was a lithographic print; ARP was from a steel plate; ARQ from a line 
etching with machine shading; ARR from a print from a wood 
engraving; ARS from a photogravure print; ART from a rotograv- 
ure print; ARU from a print from a one-way screen halftone and ARV 
from a print in colors from combination plates—halftone key plate 
and three machine shaded color plates. 

View post cards and other subjects printed in color are usually 
poor copy for reproduction in halftone for printing in one or more 
colors. This is especially true with subjects for which a halftone has 
been used as the keyplate and in which the colors have been printed 
from plates with a mechanical stipple or pattern as obtained through 
the use of a shading machine. The texture of the yellow and red 
plates as printed in such subjects may blend with the other colors in 
such a way as to be scarcely noticeable to the observer, but when 
reproduced in a halftone for printing in one color, it appears in a very 
pronounced manner and gives the part of the printed reproduction 
affected a coarse, heavy appearance and often a moire or pattern also. 

Prints produced by the photo-gelatin, photogravure and roto- 
gravure processes can usually be reproduced in halftone with almost 
as good success as if original photographs were used. 

Usually very little can be accomplished by retouching halftone 
or other prints before reproducing them. Such copy is usually printed 


HALFTONES PATA 


Square finish halftone, 100 line, no line. The photographic print of the portrait was cut out and mounted on the 
photograph of the house, and the halftone was made from this combined copy. 


Fig. 726. The moire effect as it is sometimes encountered 
in reproducing photographs. 


on paper not adapted to the use of water color or pen and ink, but 
in some instances it is practical to line up and slightly retouch them. 

Gray halftone or line prints, such as might be obtained from a 
newspaper, will of course not reproduce so well as an engravers’ proof 
or a print from a well printed catalog, circular, magazine, etc. 


MOIRE OR PATTERN EFFECTS 


When a halftone is made from a proof or print of another halftone 
there is nearly always more or less of a pattern or moire effect notice- 
able in the print from the new plate. Such copy should not be used 
when it is possible to obtain the original photograph. This pattern is 
more noticeable in some subjects than in others, and it is practically 
impossible to determine in advance the amount of pattern that will 
be encountered. The variance is caused by the difference in texture 
of the screen in the original print and that used for making the repro- 
duction, also the change in size. There are several methods in use for 
subduing or eliminating the pattern when reproducing such prints, 
but the degree of success with which they are used depends upon the 
conditions and the nature of the work that is being reproduced. One 
method of subduing the moire effect, that is more often resorted to than 
any other is to change the angle of the screen in the new plate to a 
point where the pattern is least noticeable. Another is to make the 
negative with the copy slightly out of focus. 

This pattern effect cannot be eliminated by first making a photo- 
graph of the copy and then making the halftone reproduction from the 
photograph unless the photograph is completely retouched, which 
practically means that the new copy would be a drawing. This plan 
of photographing and retouching, while satisfactory for mechanical 
and some other subjects, would not be suitable for portrait and similar 
work. For portraits an enlargement is often made and finished in 
crayon and a reproduction made from that. 


Desig COMMERCIAL ENGRAVING AND PRINTING 


Square finish halftone on copper, 65 line, no line. The white lines inside the gray borders were cut on the plate with 
a tool. 


Fig. 727. The moire or pattern effects obtained when reproducing 
halftone prints from different screens with the 65 line screen. 


In preparing the copy from which the plates for Figs. 727 and 728 
were made, proofs were taken from the 60, 85, 100, 120, 133 and 150 
line screen halftones, as used elsewhere to show the printing possi- 
bilities of the different screens on different kinds of paper, and these 
proofs were trimmed and grouped that they might be reproduced in 
the same size as the copy. The screen angle in these reproductions is 
the same as in the copies from which they were made. 

A similar pattern effect is often obtained in halftone reproductions 
of prints from wood engravings, steel engravings, photographs printed 
on linen finish paper and similar copy. Also, it is sometimes encoun- 
tered with clothing in which there is a small check or stripe, also in the 
roofs of buildings, brick walls and other subjects in which there is a 
mechanical or regular figure. See Fig. 726, also many other examples 
of results obtained in halftone reproductions from halftone prints 
to be found under Methods of Treatment. 


TRIMMING COPY 


In reproducing many subjects such as views and portraits, it is 
often possible to eliminate much of the non-essential background 
above, below or at the sides of the image or special feature. By so 


HALFTONES Die 


i” 1 


ere er were res 
sows plea! paw lee 


: : = 
es rods Sees << Mae wwe ; EO ee 


Square finish halftone, 133 line, no line. The white lines inside the gray borders were cut on the plate with a tool. 


Fig. 728. The moire or pattern effects obtained when reproducing 
halftone prints from different screens with the 133 line screen. 


doing a smaller plate will often prove as effective as a larger one with 
the entire photograph included, and this not only effects a saving in 
the cost of the plate, but also a saving in space in the publication or 
other medium in which it is to be used, as well as making a more direct- 
to-the-point illustration. The trimming of the background, when it 
can be done without injury to the essential parts of the picture, is also 
often done to obtain suitable proportions of the original for the desired 
size in the reproduction. In eliminating such backgrounds, it is not 
necessary actually to trim the photograph or drawing, in fact it should 
not be trimmed close, as it is better to leave it with working margins 
so that the engraver may have ample space for squaring up, trimming 
negative, etc. The cut off marks, or cropping points, should be marked 
plainly on the edge of the copy or the card on which it is mounted, or 
on a sheet of tissue used as an overlay and permanently attached to 
one edge. The engraver eliminates the surplus part of the copy by 
trimming the negative, so that only the part wanted is finished. 
Portrait photographs very often have a considerable expanse of 
background around the figure, and if the entire photograph is repro- 
duced the size of the face will be comparatively small. Full length, 
or three-quarter: length portraits, unless reproduced in a large size, 


Square finish halftone, 150 line, no line. The three views were made from the photograph as reproduced at the left, 
the face having been enlarged and background trimmed off to obtain the reproductions on the right and between. The 
halftone negatives were stripped together and the white lines between were cut in the plate. 


Fig. 729. Fig. 730. Fig. 731. 
Trimming copy to give more prominence to the essential part. 


give little prominence to the face, and unless they are to be reproduced 
with the idea of obtaining an effective or striking pose or view, they 
should be trimmed of unnecessary background and only the head and 
shoulders, or bust, reproduced in order to give greater size to the face. 

In Fig. 729 has been reproduced a full length portrait with all back- 
ground as in the original photograph; in Fig. 730 a reproduction of 
only the head and shoulders, or what is known as a bust picture has 
been made from the same photograph, eliminating a part of the back- 
ground, while in Fig. 731 a still greater amount of the background has 
been eliminated, giving a very large head. 

Often it is necessary to make a halftone of one or more persons 
using as copy a group photograph in which there are several persons. 
There is usually some distinguishing feature about the persons whose 
likenesses are to be reproduced that will enable the customer to desig- 
nate properly just who is to be reproduced, but if not the person or 
persons in the photograph may be marked lightly with a soft pencil, 
which marks will be removed by the engraver before the reproduction 
is made, or the marks may be made on a tissue overlay. 

Exterior, also interior views may often be trimmed so as to give 
more prominence to the important part of the subject or to obtain 
required proportions for size. Exterior views, however, in which the 
area of the print is covered largely by a building, do not provide space 
for trimming the background to change proportions. Some drawings 
can be trimmed in order to give greater prominence to the detail of 
special features, but usually they are made with a view to being repro- 
duced in their entirety. 


Pages 273 to 280, inclusive, are printed on 25x38~ 80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


HALFTONES paras 


SAME FOCUS COPY 


There is a slight advantage to the engraver when photographs or 
drawings have been made of a uniform size, thus permitting of uni- 
form reduction in the making of negatives all at the same focus; the 
advantage is so slight, however, when copies are large that a concession 
in price cannot be granted. In the case of only a few copies any saving 
in grouping will no more than equal the economy in this respect that 
was contemplated when the standard scale of prices was fixed. Any 
single plate made up alone is made at an actual loss, if billed at scale 
price, and it is only by grouping many orders in the process of making 
that the average price is as low as that fixed by the scale. In the case 
of a very large number of small copies, all of which are to be reduced 
in the same proportion, i. e., one-half, one-third or any other proportion 
which makes only one focusing necessary, there may be a saving in 
time in the negative making and in some of the other operations for 
which an allowance may be made, depending on size and kind of copies, 
size of plates and other conditions that apply to the order. 

In estimating the size of halftones, one-fourth of an inch is added 
to length and width for bevel for tacking and trimming. When esti- 
mating the size of long narrow plates, the width is taken as one-fourth 
of the length. 

COMPANION PLATES 


When ordering a halftone that is to be printed in connection with 
one, or a series of other plates, where uniformity is desired in the 
appearance of all, a proof or print from the old plate should be sent 
with the order for the new, and special mention should be made of the 
fact that the new plate is to harmonize with the old. This applies 
especially to portraits in which there may be great variance in size of 
face or color of background, style of finish, screen, direction in which 
the subject is to face, and other details which would very likely not 
correspond if the new plate were ordered without reference to the old. 
Some special preparation or alteration of copy may be required to 
obtain the uniformity desired and the engraver should be authorized 

to make the necessary changes. 


THE DIRECT PROCESS 


Direct process is the descriptive term used when the plate is made 
by getting the halftone negative direct from the object instead of from 
a photograph or drawing, as is the usual custom. In the case of small 
articles, such as jewelry, cutlery, linens, etc., where the article has 
been carefully prepared and arranged, this process has the advantage of 
giving a reproduction that is faithful in detail. It is not practicable 
even when desirable for large objects, since the subject must be taken to 
the engraver, whereas photographs can be made and delivered at less 
expense. Besides this, it is more practical in most instances to photo- 
graph the article and get a print upon which the artist may be able to 
correct imperfections by retouching. In the direct process it is impos- 
sible to do any retouching except by special etching or tooling on the 
plate itself and the scope for this kind of alterations is exceedingly 
limited. 


t 


' Halftone 


COLOR PLATES 


“Fig. 740. 
HILE wonderful results, from the viewpoints of both beauty 
and effectiveness, can be obtained from line or halftone plates 
engraved to print in one color, there is probably no one who will 

not admit the increased possibilities from the use of color in addition. 
Color increases the attention-getting value of a piece of printed matter 
to such a marked degree that it is generally desirable to use an extra 
color even on the most common piece of printed matter. Merely one 
additional color, and that perhaps only approximating the actual color 
of the article, will add greatly to the attractiveness and value of the 
illustration; but the increased selling power of printed matter in which 
the product is illustrated in full color will usually warrant the extra 
expense. 

Color, however, must be used with discrimination, as too much of 
it, like too much display in a type page, will attract the eye but will 
give a disagreeable impression. To be effective it must both attract 
and please. 

Some subjects are more suitable for reproducing in colors than 
others. Therefore the nature of the subject must be taken into con- 
sideration when comparing the effect obtained with that gained in some 
other subject that has been reproduced. Subjects which lend them- 
selves to strong colors usually make the most attractive color work and 
those in which the colors are naturally subdued have a tendency to 
become too highly colored in the finished work. Thus such subjects as 
exteriors, landscape and marine views and some commercial subjects 
reproduce with greater fidelity and make more striking and beautiful 
color prints than those which are in monotone or subdued colors. 


COPY FOR HALFTONE COLOR PLATES 


Halftones for printing in colors may be made from any kind of 
photograph, retouched photograph, wash drawing, oil painting, pastel, 
crayon (in black and white or color), or from any kind of copy from 
which a halftone for printing in one color can be made. In making 
halftones to print in colors, just as in the case of one color halftones, 
it is advisable that the copy from which plates are to be made be some- 
what larger than the reproductions are to be. 


*Outline halftone, 150 line. Made from a wash drawing. The black outlines to the letters were painted in on the 
plate before etching and the screen was cut from the face of the lettering by outlining and routing. 


HALFTONE CoLor PLATES er 


In reproducing commercial articles it is nearly always advisable to 
photograph them and retouch the photographs just as if the copy were 
being prepared to be reproduced in plates for printing in one color. By 
so doing it is not difficult to arrange special groupings and to retouch or 
paint out defects and otherwise prepare the copy so that it is in proper 
condition for reproduction. While such copy may be enlarged and 
hand-colored and then reproduced, such a plan is hardly advisable, 
because transparent colors such as are used in hand-coloring do not 
reproduce as well as opaque colors and the hand-coloring is also likely 
to interfere with the correct illustration of detail in the subject. 

Lumiere transparencies may also be used as copy to work from, 
although this is not as satisfactory as if negatives are made direct from 
the object or photograph. The transparency, however, is a valuable aid 
as a guide in obtaining color values for different parts of the views. 


COLOR SKETCH 


When halftone color plates are to be made from black and white 
copy, a better understanding between the customer and the engraver 
as to the ends being sought will be brought about if a colored sketch is 
prepared for approval before the plates are made. This may be made 
by hand-coloring a duplicate print or photograph of the copy, and while 
this will only approximate what may be expected in the finished repro- 
duction, it will serve as a guide. 


DIRECT FROM THE OBJECT 


Many commercial subjects such as rugs, textiles and other articles 
that can be conveniently handled when making the halftone negatives, 
are best made direct from the original. By making the plates direct 
from such subjects, there is often not only a saving in the cost of pre- 
liminary work but there is less loss of detail on account of the smaller 
number of operations. 

LETTERING 


All small lettering and all text matter that is to be printed as a part 
of a color subject should be combined with the halftone plate, or plates, 
by double printing. If the lettering is made a part of the copy, it 
will not be clear and distinct in the reproduction because of being cut 
up with the screen and it will have an out-of-register appearance. It is 
usually advisable that this lettering be in the blue, black or key plate 
and over a part of the subject that is to be printed in a light tint or 
middle tone, so that there may be sufficient contrast between the letter- 
ing and the background to make it easily legible. While in making a 
double print the lettering may be made either to print “‘ black on white” 
or ‘‘white on black,” the last named plan is hardly feasible unless it is 
practical to eliminate the color under the lettering from the other plates 
in the set. 

Lettering that is to superimpose in two or more colors should be 
drawn on the copy and reproduced with the subject. It is usually 
impractical to double print the same text or lettering on two or more 
plates of a set, as it would be very difficult to obtain perfect register. 


278 COMMERCIAL ENGRAVING AND PRINTING 


NUMBER OF COLORS TO USE 


Some subjects cannot be made in absolute facsimile reproduction 
even though the four color process is used, by which practically every 
shade may be closely matched with the exception of some of the brilli- 
ant or delicate hues. 

Two color work is used more often than any other, as it is not only 
possible to obtain attractive and artistic results in a wide range of work 
by several different methods, but the cost of making the plates and 
printing from them is within reach of a greater number of users of print- 
ing. The sheet being printed must pass through the press for each 
color, hence it is obvious that the greater the number of colors used the 
greater the cost of presswork and plates, although the cost of paper, 
folding, binding and mailing is no more where several colors are used 
than for only one. 


THE DUOTYPE 


A duotype consists of two halftone plates produced from the same 
black and white copy, both made from the same halftone negative but 
the two etched differently so as to produce the color values in each 
plate necessary to obtain the desired color combination, when printed 
impressions from the plates in their respective colors are superimposed. 
As the screen in the two plates is the same, the colors used in printing 
are somewhat neutralized because the dots and lines in one plate print 
over those in the other unless the plates are printed slightly out of reg- 
ister, in which case detail is less distinct and a ‘“‘pattern”’ is often 
noticeable unless one of the colors be very light. As the negative from 
which a duotype is made may be stripped, thus making unnecessary 
the use of the prism, the only extra work in making such plates— 
that is, in addition to that required for two ordinary halftones—is the 
special etching to obtain the proper color values and the proving in 
colors; hence such plates are not as expensive as two color halftones, 
but they cost more than two separate halftones of the same subject. 


TWO COLOR PROCESS HALFTONES 


A two color halftone consists of two plates made from two negatives 
from the same black and white, or colored, copy. One of the negatives 
is made with the lines of the halftone screen at the same angle as for one 
color work, and the other with the lines in the screen at a different 
angle, usually about thirty degrees. This difference in angle is ob- 
tained through the use of a round screen which may be turned to any 
angle, or by the use of a round copy board which permits turning the 
copy to the proper angle if the screen is stationary. After proper 
etching to obtain desired tone values in each plate, the two plates, 
though they reproduce the same subject, will, when one is printed over 
the other, using a different color of ink for each plate, produce a print 
in which the colors appear to be blended in a continuous tone effect 
throughout. This is due to an optical illusion resulting from the fact 
that the dots in one of the colors are interspersed and printed between 
those of the other, thus producing different tones of color in the high 


HALFTONE CoLtor PLATES 279 


lights and middle tones and still others where one is printed over the 
other in the shadows. If both negatives were made with the screen 
at the same angle, the plates would simply overprint each other and 
only a one color effect would be obtained in the finished print. 

Colors commonly used in printing such plates are black, dark green, 
dark blue or dark brown with orange, black and red, etc. Many other 
successful combinations are effected in the illustrations of commercial 
subjects where other colors predominate or by the use of a light tint in 
connection with a stronger color where delicate effects are sought. 
By some, two color halftones are termed duographs. 


COLOR FILTERS 


In making the halftone negatives from copy in colors for two, 
three and four color halftones, a color filter is used. This is a piece of 
colored gelatin film, which may be cemented between glass, or colored 
liquid in a transparent container, which is usually placed before the 
lens while the negative is being made. The light first passes through 
the filter, then through the prism, and then through the lens to the 
plate. The filters used are of different colors, depending on the colors 
in the copy, and the effect produced by their use is to absorb certain 
colors and to allow others to photograph in full strength on the plate, 
and to obtain the proper tone of each where a combination is necessary. 

Through the use of the color filters the reproduction in the finished 
print is not only a more nearly true reproduction of the original copy, 
but less etching, tooling and burnishing is required in making the 
plates. The plates also have better printing qualities than if straight 
negatives were made from the copy and the color values in the different 
plates were obtained by etching, tooling, burnishing, etc. There is 
also a better blending of colors in the reproduction where the separa- 
tion is obtained in the negative making than where the combination of 
color has been “‘faked”’ in the etching, the last named method having 
a tendency to produce a harsh or rough blending of color. 

A practical example of what the color filter accomplishes in the 
making of a negative is very clearly demonstrated by viewing a print 
of any kind in colors through a piece of ordinary colored glass. For 
example, if a piece of red or orange glass is used, the blues and darker 
tones which would require considerable of the blue to give proper 
strength appear very pronounced, while yellows, bright reds and other 
tones not requiring the blues in quantity will appear light. Thus 
through the use of the color filters the proper strength of color for the 
respective plates is automatically proportioned, and by proper etching 
to produce a good printing plate for each color little is required in the 
way of special etching to obtain the required color value. 


THREE COLOR PROCESS HALFTONES 


By properly combining the three so-called primary colors, yellow, 
red and blue, any secondary color may be reproduced. This principle 
is the one upon which process color printing is based. By photo- 
graphing first through a blue filter the negative is obtained from which 
the yellow plate is made; then through a green filter for the red plate 


280 COMMERCIAL ENGRAVING AND PRINTING 


and finally through a red filter for the blue plate. When the halftone 
plates made from these negatives are printed in the respective colors 
in the order named and superimposed in proper register they will pro- 
duce in the resulting picture the color tones represented in the original. 

In making the halftone negatives, that for the blue or key plate is 
made with the lines of the screen at an angle of forty-five degrees, as 
for a plate to print in one color; that for the yellow at thirty degrees 
to the right of the perpendicular and that for the red at sixty degrees 
from the perpendicular. 


FOUR COLOR PROCESS HALFTONES 


This is an amplification of the three color process wherein a fourth 
plate is brought into service, this plate being printed in black. By its 
use it is possible to obtain many shades of gray that it is impossible to 
get when only the three primary colors are used, and in addition, being 
used as the key plate, it strengthens the detail in the subject. 

A four color reproduction is nearly always to be preferred to one in 
three colors because of the better results to be obtained. Also for the 
reason that as most process work is made for printing in four colors, 
it will more often permit printing several sets of plates in the same form. 
All copies in which there is a large variety of blacks and neutral tones, 
brilliant blues or greens should be reproduced in four colors. 

In three color process plates all three plates must carry correct 
gradations and color values to produce satisfactory results, but in four 
color process plates parts of the detail in the colors may be eliminated 
or omitted, since the black plate carries the shading or detail for the 
picture. 

In making the halftone negatives from copy in colors the same color 
filters are used as in making the negatives for three color process, and 
that used in making the negative for the black plate depends upon the 
nature of the subject. An orange filter is sometimes used and again it 
may be a green ora yellow. The angle of the screen lines in the black 
plate is 45 degrees, the yellow perpendicular, the red 15 degrees to the 
left of the perpendicular and the blue 15 degrees to the right of the 
perpendicular. The angle for the blue and red may be transposed. 

The order in which the colors for a four color process halftone are 
printed will vary under different conditions. If there are other pages 
or subjects to be printed in the same form, if the black is printed 
first it is less difficult to place and register the plates for printing the 
yellow, red and blue and which would be printed in the order named. 
This plan was followed in printing pages 281 to 296, inclusive. A 
change in the order in which the colors are printed will not effect the 
results if the same shades of ink are used and all are transparent. If 
the yellow is printed first, an opaque ink is usually used for this color. 
The same yellow and red inks are used in printing four color process 
halftones as are used in printing three color process, but the blue is 
changed slightly—that used in four color work being more brilliant 
and lighter than that used for the three color process. 


HALFTONE CoLor PLATES 281 


DIRECT PROCESS 


Most process color work is now made by what is termed the “direct 
process.’’ This, however, does not mean that the work is made direct 
from the object being reproduced but has reference to the method of 
making, whereby only one halftone negative for each color is required, 
the plates used for making the negatives being specially sensitized and 
used in connection with the color filters. This method makes possible 
a considerable saving in time in the production of plates over the orig- 
inal method and also assures a more nearly perfect reproduction with 
less effort on the part of the etcher. 


INDIRECT PROCESS 


In the early days of process color work the indirect method was 
used, and it is still used by some for certain classes of work—such as 
in picturing large objects that cannot be taken to the gallery where a 
camera with screen can be used. This method requires three plate 
exposures for each color. Thus a three color halftone requires nine 
negatives, or rather six negatives and three transparencies, while a four 
color process requires twelve. By this method the first step is to make 
a negative without the use of the halftone screen for each plate that is 
to be used in printing, using the color filters to obtain the proper color 
values in each. Then, a positive, or transparency as it is often called, 
is made from each of these. From these transparencies negatives are 
made, using the halftone screen—the last named negatives being used 
in making the print on metal for etching. Progress in the making of 
the sensitizers used for the negative plates as well as improvements in 
equipment have made possible the direct process which considerably 
shortens the time required for the negative making and gives greater 
assurance of proper reproduction as well. 


FAKE COLOR WORK 


This is the term given to halftone color work that is made from 
black and white copy. It refers to the manipulation of the plates in 
negative making, printing and etching so as to reproduce the different 
tone values required in the different printing plates, such as are ob- 
tained through color separation in the negative making from copy in 
colors. 


EXTRA COLORS IN CONNECTION WITH HALFTONE COLOR PLATES 


Often it is necessary or advisable to use one or more extra colors in 
connection with the regular three or four color process plates. For 
illustration, certain detail in a subject should be printed in gold or 
silver or in a one tone tint for a background; or possibly type is to be 
used in connection for description. Metallic bronze can be used only 
as a flat tint and cannot be successfully printed from a halftone plate. 
When used with process color plates it is printed from line etchings and 
is usually printed first. The plates for colors that are to print over it 
are either etched to print a very light tone over it, or they are cut out 
or routed away so as to permit the full strength of the metallic color to 


282 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 741 is a square-outline halftone and Fig. 744 is a Square-outline duotype. Both were made from the same 
halftone negative, 150 line, which was made from a combination wash drawing and patched photograph. 


Fig. 741. A halftone for printing Fig. 742. The black or key plate 
in one color. for Fig. 744, 


FROM REAL FRUIT EXte 


pe 


LER RR trike 


Fig. 743. The color plate for Fig. 744. Fig. 744. A duotype. 


A halftone for printing in one color and a duotype 
from the same halftone negative. 


show through. If used as a border or for other decorations it may be 
printed last. Gold, silver and other bronzes can be approximated in 
color by the proper combination of the different colors in the process 
plates, but without the metallic effect. 

A one tone tint background can be more easily printed, and with 
more uniform results, and often at less expense if printed separately. 
This is done with an extra plate printed with its own special color of 
ink instead of attempting to produce the same effect through a combi- 
nation of colors used on the other plates. 


Pages 281 to 296, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio, 


HALFTONE CoLorR PLATES 283 


Fig. 745 is a square finish halftone, 133 line, no line. Fig. 748 is a square finish two color halftone, 150 line, no line. 
Both were made from the same black and white photograph. 


Fig. 745. Halftone for printing Fig. 746. The black or key plate 
in one color. for Fig. 748. 


Fig. 747. The color plate for Fig. 748. Fig. 748. A two color halftone. 


284 COMMERCIAL ENGRAVING AND PRINTING 


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e 


Line etchings on zinc. Black proofs were taken from the plates used for Figs. 748, 756 and 771. A line negative was 
made of a small section of each, enlarging about five times. From a black and white photographic print from this negative 
another line negative was made, enlarging about 100%. From this negative the print was made on metal to be etched. 


Fig. 749. Two color. Fig. 750. Three color. Fig. 751. Four color. 


Enlarged sections from two, three and four color process halftones, showing 
screen angles and manner in which the colors are intermingled. 


Sets of color plates are sometimes made, in which one or more 
colors are substituted for those regularly used in process work, in order 
to obtain a special effect for certain parts. Such plates, of course, 
can not be printed at the same time with regular process plates, nor 
can the usual combination effects be obtained for the remaining parts 
of the picture. 


Fig. 752, The yellow plate for three color process halftone. 


HALFTONE CoLor PLATES 285 


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Fig. 754. Progressive print showing red and yellow superimposed. 


286 COMMERCIAL ENGRAVING AND PRINTING 


inn 


Square finish, 166 line, no line. Made from black and white photograph. 


Fig. 756. Three color process halftone complete. 


Square finish, 166 line 
in Figs. 67 and 68. 


HALFTONE Cotor PLATES 287 


sno line. Made from black and white photograph. This subject is reproduced in one color 


Fig. 757. Four color process halftone. 


Fig. 759. The yellow plate. 


Nasi 


Fig. 760. Black and yellow. Fig. 761. The red plate. 


Figs. 758 to 764, inclusive, show progressive prints of a flat 
etched four color process halftone. 


289 


HALFTONE CoLor PLATES 


Fig. 763. The blue plate. 


, yellow and red 


Black 


. 762. 


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COMMERCIAL ENGRAVING AND PRINTING 


290 


Fig. 767. Black and yellow. 


etched yellow plate. 


766. The re- 


Fig. 


Fig. 769. Black, yellow and red. 


The re-etched red plate. 


Fig. 768. 


HALFTONE CoLor PLATES 291 


Fig. 771 is an outline four color process halftone, 166 line. Made direct from the rug which was about 40 inches long. 


Fig. 770. The re-etched blue plate. Fig. 771. The finished subject. 


REGISTER MARKS 


As an aid in obtaining quick register when proving or printing color 
plates, register marks are usually drawn on opposite margins of the 
copy in the shape of a cross, and these are reproduced in all of the 
plates. In registering the different plates one with another, it is a 
simple matter to place each plate in such a position that these marks 
print exactly over the same register marks made by the plates previous- 
ly printed. When these register marks exactly Over-print each other, 
the plates are in exact register. The marks are easily removed from 
each plate after it has been placed in proper position, and before begin- 
ning the actual printing; hence, they will not show in the finished work. 


MAKING THE NEGATIVES FOR HALFTONES TO PRINT IN COLOR 


The copy is placed on the copy board, the camera is focused and 
other preliminaries preparatory to the making of the negatives for 
color work proceed in much the same way as in making negatives for 
halftone plates for printing in one color. A negative is required for 
each printing plate of the set being made, and these negatives must 
each be made with the screen at its proper angle, using the proper color 
filter if the copy is in colors and using the prism whether the copy is 
in black and white or in color. 

The negative plate is so sensitized as to work with the color it is 
intended to record, special dyes being mixed with the sensitizing solu- 


PEO eS Ser see 
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Silke eter on Cag en teat eee. 


COMMERCIAL ENGRAVING AND PRINTING 


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Figs. 772, 773, 774 and 775 are printed from lead mould electrotypes made from the plates used,in printing Fig. 771. 
Fig. 774. The red plate. Fig. 775. The blue plate. 


All plates in set of re-etched four color process 
plates printed in black. 


HALFTONE CoLor PLATES 293 


tion and different dyes being used for the different plates. The nega- 
tives are not colored, but they register the color values and gradations 
of the color for which they are being made, and the printing plates 
made from them are printed in the colors represented by them. 

Some operators sensitize their own glass plates while others use 
special plates made by dry plate manufacturers especially for this pur- 
pose. Collodion emulsion plates, those sensitized by the operator, are 
used mostly for economic reasons, for in establishments where color 
plates are made continuously it is considered less expensive to pur- 
chase the chemicals, mix the emulsion, and coat the plates as they are 
used, than to buy the prepared dry plates. However, where only an 


Square-outline halftone, 150 line. The halftone negatives for the views at left and right were made from slightly 
retouched photographs, and that for the inset at bottom direct from the object. The negatives were stripped together. 


Fig. 776. Round screen in camera (left) and a transparency (right). 
The insert at bottom shows color filter on prism and the prism on a lens. 


occasional set is made it is more economical to use the prepared dry 
plates, which may be kept on hand for use at any time. It is not prac- 
tical to compound the special emulsion in small quantities, and it 
deteriorates and becomes unfit for use if not made use of while com- 
paratively fresh. 

The length of exposure varies, depending upon the nature of the 
copy and other conditions, the same as in making negatives for half- 
tones for printing in one color, except that longer exposure is necessary 
on account of the use of the color filter and the prism. Strong illumina- 
tion of the original is required. Daylight is too weak and irregular, 
hence strong arc lights are used. The making of the negatives and the 
changing of the screen angles are the most important operations in 
making the plates, as the slightest change in the adjustment of the 
camera between negatives, or incorrectness in exposure, in color sepa- 


Pages 281 to 296, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


294, CoMMERCIAL ENGRAVING AND PRINTING 


ration, or in angle of screen, will result in a defective set of plates or 
possibly plates that cannot be used at all. 

An apochromatic lens is used in making the negatives for process 
color work. This is a lens that has been corrected with equal precision 
for all of the primary colors of the spectrum. It is only by using such 
4 lens that three color negatives exactly identical in size and degree of 
sharpness can be obtained. With all other lenses the various colors in 
the object are brought to a focus in slightly different planes, thus 
yielding negatives differing in size by a minute fraction of an inch or 
sufficiently to prevent perfect register in printing. The apochromatic 
lens may be used equally as well for black and white work as for color 
work. 

PRINTING AND ETCHING 


After the screen negatives have been developed and dried, a print 
direct from each one in the set is made on copper, the same as in mak- 
ing halftones for printing in one color. The etcher first stages the prints 
on metal for flat etching. Certain parts in all or perhaps in only a 
part of the set should print solid, or in the full strength of the color to 
be used for printing that plate. Such parts are painted over with the 
resist, leaving exposed all parts of the prints on the plates that are to 
be printed in a tone, whether this tone be light, medium or dark. The 
plates are then given a bite in the etching solution, or what is known as 
a flat etch. The resist is then applied to other parts of the plates, 
which are taken up one at a time, gone over carefully, each one being 
etched as required in the judgment of the etcher, to produce, when all 
plates in the set are printed in combination, the color values in the 
copy or sketch. If the set is a three color process and a certain part of 
the subject is to print in a bright red, the blue in that section must be 
almost if not entirely eliminated and both yellow and red used to their 
full strength, bright red being obtained through the process red being 
printed over the yellow. If a shade of brown is required for a certain 
part, a combination of all three colors is required—the plates being 
etched so that each plate will produce its proper amount of color for 
the combination. The etching so proceeds with all parts of each plate 
until the etching has been completed, when a flat proof is made of the 
three plates in combination. 


FLAT PROOF 


This is a print made from the plates using on each plate the color 
of ink with which it is to be printed in the final reproduction and print- 
ing the set in proper register. This flat proof is usually made before 
the plates have been outlined, routed or trimmed and is made solely to 
be used as a guide by the etcher in re-etching and finishing the plates. 


RE-ETCHING AND FINISHING 


The etcher, after comparing the flat proof with the original copy or 
sketch, carefully works over the different plates, re-etching, tooling and 
burnishing so as to modify the strength of color in the different parts 
of each plate where necessary, so that each may, when printed in com- 
bination, produce the proper strength of color necessary to obtain an 


HALFTONE Cotor PLATES 


Combination line etching on zinc and outline-vignette 
halftone, 133 line. From pen drawing and photograph. 


Fig. 777. Printed with black 
halftone ink. 


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Printed from a wax moulded electrotype made from 
plate used for Fig. 777. 


Fig. 779. Printed with 
process red. 


Sette prertreteuseesees ae eit Pre Tee ee eee ieeasde Tre 
ens OMSS RSS e ses seca eenas esse stsslssseaesesssssssss22% 


Printed trom ad Wax moulded eles trotype made from 


plate used for Fig. 777. 


Fig. 778. Printed with four 


color process blue, 


SEESESEESSIIIESS SESE SSS ESS Seryerrrersrstts 


x 


oa 


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VaSnRSausssurrrrsrsssszstrrres:ssrrszsrszstteazestetesestt 


Printed from a Wax moul led electr tVpe made from 


plate used for Fig. 777. 


Fig. 780. Printed with 
process yellow. 


The same combination plate for one color and type printed 
in black and process colors. 


296 COMMERCIAL ENGRAVING AND PRINTING 


exact reproduction of the original copy or sketch. The parts of the 
plates that are to show white in the finished print must be eliminated 
by tooling and routing or by staging and deep etching. 

No operator or etcher can determine in advance as to the absolute 
accuracy of his part of the work. Although the most modern equip- 
ment may be in use and all rules of science and past experience be 
carefully followed, there is always more or less uncertainty as to what 
the outcome in the finished proof will be. It is very seldom that a 
process color job is approved on first proving, and it is not unusual 
for such plates to be proved and worked over two or three times before 
they are passed by those producing them. 

Often the color for one or more of the inks may be changed slightly 
in order to produce a certain effect in a three or four color process 
halftone. There would be no objection if the set of plates were to be 
printed separately always, but should it be found to advantage later to 
print the subject along with other process plates there would be a devi- 
ation from the original proof either in the special set or in the others 
with which it is being printed, or an extra expense for printing the 
special colors. By using the same colors in proving all process plates 
that are printed in the same number of colors, or at least all that may 
at any time be printed together in one form, and obtaining the correct 
reproduction of copy through re-etching and work on the plates proper, 
there will be no difficulty in obtaining satisfactory prints when plates 
are printed, regardless of what subjects are being printed together, if 
the same number of colors are being used. 

The colors used in printing Figs. 752-756 are the standard colors 
for three color process work as adopted by the American Photo- 
Engravers’ Association and those with which Figs. 766-771 are printed 
are those adopted for four color process work. The standard yellow 
and red were used in printing the four color process plates for Fig. 757, 
but the blue as adopted for three color work was used. Pages 281 to 
2096, inclusive, were printed in one form. Six colors were used—black, 
orange, yellow, red, three color process blue and four color process 
blue—and they were printed in the order named. Electrotypes were 
used for the duplicate plates required to show the progressive steps 
in printing, the originals being used for the finished subject. 

Process color plates are usually proved on a heavy platen press 
with good ink distribution and the engraver should be furnished with 
a sufficient quantity of the stock on which the plates are to be printed, 
if proofs are wanted on paper other than regular proving paper. As 
each color must dry at least a few hours before the succeeding color is 
run, it usually requires at least two days to re-prove a three or four 
color job even though the alterations may be very slight. 


PROGRESSIVE PROOFS 


When the re-etching, tooling, routing and trimming have been com- 
pleted, the plates are mounted temporarily on wood blocks and final 
proof made. Because of spoilage in obtaining correct register, imper- 
fect prints and other contingencies that may arise in proving, it is 
necessary to make several proofs from each plate in the series as the 


HALFTONE CoLor PLATES 297 


proving is being done, even though only two or three finished proofs 
are required of the subject. As the proving is done, a sheet is preserved 
showing each step in printing the colors, and the complete series when 
assembled is known as a set of progressive proofs. In proving a two 
color halftone, a separate proof is furnished of each plate in its respect- 
ive color in addition to the proof of the two colors combined. Fora 
three color halftone there are a proof of the yellow plate, one of the 
red and one of the blue, each in its respective color, also a proof of the 
yellow and red combined as well as the finished print showing the yel- 
low, red and blue combined. In a four color process separate proofs 
are made of the yellow, the red, the black and the blue, and if these 
colors are to print in the order just named, a proof is made of the yel- 
low and red in combination, and a proof of the yellow, red and black in 
combination as well as the finished proof in four colors. Or if the plates 
have been made to print in the order of black first, then yellow, fol- 
lowed by red and blue, the proofs furnished in addition to the separate 
colors and the finished print are a combination of the black and yellow, 
and one of the black, yellow and red. With the aid of such a set of 
proofs the printer can duplicate in his work the results shown by the 
engraver's proofs, for he is able to compare his work step by step as he 
is producing it with the proofs, and by exactly matching each color and 
combination as his work progresses he will know in advance that his 
finished print will compare favorably with the proofs. Without the 
progressive proofs it would be necessary for the printer either to make 
such proofs before he begins printing or guess as to colors as they are 
being printed, which would more than likely prove an expensive exper- 
iment. Careful preservation of progressive proofs by keeping them 
clean and wrapped with the plates in such a manner that they will not 
be exposed to light and thus fade out, is an economy that should be 
looked after. Progressive proofs are usually marked by the engraver 
with the name of the ink and the name and address of the ink manu- 
facturer, so that the printer will have no difficulty in obtaining ink 
that will exactly duplicate the proof. 


PRINTING HALFTONE COLOR PLATES 


Not every printing establishment can successfully print halftone 
color plates, as there are comparatively few pressmen competent to 
print them properly, especially three and four color process work. 
While they may have the theory and know how the work should be 
done, some have not the required equipment at their disposal nor the 
necessary practical working knowledge of color and makeready for the 
proper handling of such work. 

In printing process color plates the work is usually arranged so that 
one color is printed just a day ahead of the color that is to follow. 
Each color must dry properly before the succeeding color is printed, 
and it is almost as important that the work does not lie too long be- 
tween colors as it is that it lie long enough, for it is possible for it to 
dry and harden too much as well as not to dry enough. By the use of 
special inks, however, one color may be printed immediately following 


298 COMMERCIAL ENGRAVING AND PRINTING 


another, and this is done where the press is built for printing two or 
more colors. The engraver’s proofs should be made in this manner of 
plates to be so printed. 

Atmospheric conditions also play an important part in the manner 
in which the printing may be handled, as it is practically impossible 
to produce good clean impressions in damp weather and to dry the 
printed sheets properly, unless the pressrooms are so arranged and 
regulated that these outside conditions may be overcome. 

In making comparisons of engraver’s proof with printed copies, con- 
sideration must be given to the difference in quality of paper, if any; 
for it would be unreasonable to expect the printer to obtain results on 
a medium grade of paper equal to those of the engraver, which are 
usually made on a highly coated paper. 

It will be noticed that no one of the three colors used in three color 
process work, when printed separately, is desirable for one color work 
either in illustrations or for printing text, nor can any one plate of a 
set of process plates be used for one color work. In four color process 
work, however, the black can also be utilized in printing the text, 
titles, etc., that are to run in connection with the illustrations. 

A number of establishments who specialize in the production of 
process color work do printing as well as engraving, and have an estab- 
lished rule that the plates made by them are to remain their property, 
to be used for printing that they may do for the customer for whom 
the plates are made. The majority of engraving establishments, how- 
ever, who make process color plates, deliver the plates to the customer 
who may have his printing done by any printer he may select who is 
equipped to do such work. 

GENERAL 


Best results from process color plates are to be had when printed on 
high grade white enameled paper, and the engraver always makes the 
plates with this in view, unless he is otherwise advised. Plates that are 
to be printed on dull finished stock, white or tint, should be especially 
ordered for this kind of stock. The screen, manner of etching and 
color combinations must be adapted to the special use, and if stock on 
which the plates are to be printed is special and not easily obtained a 
sufficient number of sheets should be furnished the engraver to enable 
him to prove the plates on the stock to be used. 

Halftone color work, regardless of the number of colors, whether 
two, three or four, is usually made with medium or fine screen, 1.€., 133, 
150 lines or finer, but it can be made with any screen. 

Copy in color is to be preferred to black and white copy, because 
in reproducing the colored copy through the use of the color filter less 
re-etching, burnishing and tooling are required and the printing plates 
wear better than those that have been worked over to such an extent 
that they are not fitted for long service. The success of reproductions 
made in process color from monochrome copy depends upon the artis- 
tic resources and ability of the etcher just as the original copy in colors 
is a success on account of the ability of the artist who painted it. 

The men who produce the work by these processes are specialists 
in some certain branch of the work, and it is very seldom that a man is 
found who is an expert in more than one branch or even capable of 


HaLrrone Cotor PLATES 299 


handling more than two or three of the operations. Thus, the operator 
who makes the negatives is usually a specialist in this particular part 
of the work, the man who etches is a specialist in that line, and so on 
through the various operations. 

Owing to the many operations necessary in the production of a set 
of process color plates, and the uncertainty as to the number of prov- 
ings required, it takes much more time to produce a set of such plates 
than to make plates for printing in one color. 

It is not always possible for one to determine, when judging from 
finished prints, whether a set of plates has been made by the color sep- 
aration of copy method or by the fake method of etching, although 
the former usually gives a softer and more natural effect in the repro- 
duction. 

Not all engraving houses are equipped to do three and four color 
process work, since the volume of business in this line in some locali- 
ties will not warrant the necessary outlay for equipment and especially 
trained men for the various operations. 


MOUNTING, ELECTROTYPING AND REPAIRING 


Halftone color plates of subjects that are to be printed singly are 
usually mounted on wood bases, and the scale price for such plates 
provides for the delivery of plates in this manner or unmounted. 
Where plates are to be printed in forms with other color subjects, it 
is advisable, after proof has been approved, if the printer who is to 
print them is equipped with patent bases, to back them to thickness 
for use on such bases. While there is an extra charge for backing the 
plates, there is a saving of time to the printer in registering, he is able 
to obtain better results, and plates can be more conveniently filed. 

Subjects that are to have considerable use should be electrotyped 
and the printing should be done from the electrotypes, preserving the 
originals for making subsequent electrotypes should those first made 
become worn or damaged. When electrotypes are to be made, the 
engraver should be so notified when plates are ordered, so that the 
bearers and blank metal on the original plates may be left as an aid to 
the electrotyper in obtaining more nearly perfect electrotypes. Ordi- 
nary electrotypes should not be ordered. Lead mould, or wax mould 
electrotypes of the very highest quality, are required if perfect detail 
and register are to be obtained. 

In proving a subject on which the blank metal has not been re- 
moved, or when it is desired that a certain part be eliminated, this can 
be accomplished by “‘frisking”’ out so that the parts not wanted will not 
show in the proof. This is done after the plate has been inked, by 
covering the plate with a mask of paper, in which an opening has been 
cut to allow the part of the subject that is to show to print through. 

Should one plate of a set become damaged or worn to such an extent 
that it cannot be used or repaired, it is practically impossible to re- 
place it with a new plate that will register or produce a correct color 
combination. Hence it is usually necessary to re-make the entire set. 
Small defects, however, such as scratches and other imperfections, can 
be repaired by careful tooling and working over, although such repairs 


300 COMMERCIAL ENGRAVING AND PRINTING 


are usually rather expensive. Engravers retain their negatives but a 
short time unless especially instructed to do so. A damaged color 
plate might be replaced from negative on file if the accident should 
happen soon after the original was made, but after plates have been 
completed for any length of time, there is little possibility of the nega- 
tive being still on hand and if on hand it may have been damaged 
through deterioration to such an extent as to be worthless. 


COST OF HALFTONE COLOR WORK 


Because of the extra labor required in the negative making, etching 
and proving, as well as the special care and extra time that must be given 
every operation in the process of making halftone color plates, the cost 
for a set is much greater than for the same number of one color plates. 
More time is required for the etching of a set of ‘‘faked’’ process color 
plates from black and white copy than is required for etching plates 
made from colored copy, through color separation negatives; so that 
plates by the former method cost more than those made by the latter, 
as do also plates made from autochromes. The standard scale, which is 
based on the average cost of production, provides fixed prices for two, 
three and four color process plates, as well as for plates for printing 
in one color. These prices, however, cover the straight reproduction 
of copy, and any steps involving special work are charged for extra. 


“Fig. 785. 


part is halftone and the remainder line etching, and in which the 

two processes are combined in the plate for printing in one color. 
The title, however, may also be used to cover various other kinds of 
printing plates in which more than one process is used to obtain 
special effects, whether printed in one or more colors. 

One of the most important qualities of every advertisement is its 
attention-getting value, and many of the most attractive and effec- 
tive designs used in magazine, newspaper and trade journal adver- 
tising, and for the illustrations and decorations for catalogs, folders, 
booklets and other kinds of advertising matter, are printed from com- 
bination plates, because the latitude in making such plates offers great 
possibilities in this direction. 

Special effects may be obtained in numerous ways. Plates that 
have been made by different processes, such as halftones, line etchings 
on zinc or copper, electrotypes, etc., may be mounted together; or line 
and halftone negatives may be stripped together to make the print on 
metal to be etched. Effects are also varied by double printing hand 
lettering or type matter over halftone backgrounds; machine shading 
on the copy, negative or plate before it is etched; special treatment of 
the copy, negative or plate during the process of making; tooling, 
special etching, routing of the plate, etc. Plates may also be so made 
as to be suitable for printing on the different grades of paper, but fewer 
effects can be obtained for plates that are to be used for newspaper 
work, or on the lower grades of paper, than for plates that are to be 
printed on the higher grades. 

One of the advantages of combination plates is that they unite 
good printing qualities with effective illustrating qualities. The back- 
ground of an advertising design made entirely in halftone has a ten- 
dency to print in a dull flat effect, and unless it is well printed on good 
paper its attractiveness and the legibility of the text or illustration 
are often lost. In a combination plate the border, lettering, decorations 
or other parts made in line etching, will print with better results than 
a halftone of such parts under almost every condition, and even though 
the halftone part may not be so well printed, the effect of the combined 
design will be better than if it were entirely halftone or line etching. 


(Nose i hat speaking, a combination plate is one of which a 


*Combination double print halftone, 150 line, and line etching on copper. Made from same pen drawing as used for 
Fig. 807. A line negative was first made of the border and into this was stripped a halftone negative of the background 
and lettering trimmed to fit. A positive of the lettering was then stripped over the halftone negative, placing it slightly 
out of register to produce the shadow effect, and from this combined negative the print on metal was made. 


302 COMMERCIAL ENGRAVING AND PRINTING 


COMBINATION PLATES FOR ONE COLOR 


Combination plates for printing in one color may be made up of 
two or more plates that have been made separately, either on copper 
or zinc, or both, and then mounted together on one base for printing, 
or they may be made by stripping two or more negatives together, 
part line and part halftone, printing from the combination negative 
on one sheet of metal, using either copper or zinc, and then etching 
the line part of the combination as a line etching and the halftone 
part as a halftone. In making plates of this last class, the operations 
of negative making, stripping and printing on metal are much the 
same as if two plates were being made, although they are both on the 
same piece of metal, but extra care and skill are required in stripping 
the negatives together if the design is a complicated one. 


/ 


Outline halftones, 150 line. Made from slightly retouched photographs. The plate illustrated in Fig. 786 was used 
in printing the black in Fig. 809, and that in Fig. 787 was used for Fig. 777. 


Fig. 786. Stripped together. Fig. 787. Nailed together. 


Combination plates as they appear when the negatives have been stripped 
together and the job finished as one plate, and when the plates are 
made separate and nailed together on one block. 


The combination plate most easily produced is made by mounting 
a separate line plate and a separate halftone plate together on the 
same base by nailing. However, on account of the shoulder or bevel 
required for the nails, some combinations cannot be so mounted 
without leaving wide spaces between the printing surfaces of the two 
pieces of metal for nails, and a corresponding amount of white space 
will show in the printed reproduction between the plates, which is not 
only displeasing but undesirable. Difficulty is also experienced in 
soldering the edges of plates together when close or closed joints are 
wanted, for there is danger of the joints breaking when the plates are 
in use in printing. Similar danger of breaking loose in printing occurs 
when the plates are anchored or sweated on to the base. This danger, 
however, can be overcome by mounting the plates temporarily by 
these methods for electrotyping, and using the electrotypes for printing 
instead of the original plates, but in the case of fine screen halftones, 


COMBINATION PLATES 303 


this would be to the detriment of the printing results, as electrotypes 
usually do not print so well as the original halftones. 

By combining the negatives to permit the etching of the entire 
plate on one piece of metal, a better and more serviceable as well as 
more workmanlike printing plate is produced. This is true because 
the plate can be more substantially and more easily mounted and the 
printing surface is certain to be of uniform height and to hold together, 
whereas when several plates are mounted together on one base by 
any method, there is always a possibility of unevenness in height and 
of troubles from their wearing loose or breaking. 

In making a combination in which the negatives have been stripped 
together, it is usual to etch the halftone part first, after painting over 
the line part of the plate with a resist to keep it from being affected 
during this stage of the etching. After the halftone part is etched, the 


Square halftone, 133 line, no line. The view at left was made from a pen drawing and that at right from an un- 
retouched photograph. The two negatives were stripped together. No white line cut between views. 


Fig. 788. Line drawing as prepared for use in making a combination 
plate (left), and stripping the halftone negative into its 
position in the line negative (right). 


resist is removed from the line part and the halftone part is painted 
over with it to protect the halftone while the line part is being etched. 
Then the resist is removed from the etched halftone and the plate is 
ready for routing and finishing. Such plates can, of course, be made 
on either zinc or copper, but the entire plate must be of one metal. 


SPECIAL STRIPPING 


A great part of the successful outcome in making combination 
plates is vested in the stripping of the negatives and making the prints 
on metal from them, these operations requiring experience as well as 
painstaking skill. 

When a line drawing is prepared of a subject that is to be repro- 


Pages 297 to 304, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


304 COMMERCIAL ENGRAVING AND PRINTING 


/THE ALUMINUM SIX WITH MAGNETIC GEAR SHIFT 


Two Superb Trains of the West and Southwest 


Something more than strings of cars and locomotives— 
fast steel trains plus a service equal to that found in 
the great metropolitan hotels. 


AY unshineS, ecial Ss cenich imited 
In dail between In di ice be 


el 


PREMIER 
MOTOR CARS 


A line negative for Fig. 789 was made from a pen drawing of borders, illustrations and design at bottom, and the plain 
black background. Into this was stripped a positive made from a proof of the type form of lettering. A halftone negative, 
133 line, of the view was stripped into the panel at top. After the print was made on metal it was retouched to eliminate 
the line showing where the negative and positive were stripped together. For Fig. 790 a line negative was made from a 
pen drawing of the border and lettering and a halftone negative, 133 line, made from a photograph of the car was stripped 
into the panel at top. 


Fig. 789. Fig. 790. 


Combination halftones and line etchings on copper. 


duced as a part of a combination plate, it is customary to paint in 
black the space into which the halftone negative is to be stripped, 
leaving a thin white line to indicate the outline of the space it is to 
occupy. This black space coming transparent in the negative makes 
it less difficult for the stripper to distinguish the boundaries of the 
space into which the halftone negative is to be stripped. 

The negatives are made and developed in the usual way, and the 
line negative is stripped, turned and placed on the plate glass for 
printing as for the ordinary line etching. The halftone negative is then 
stripped and placed directly over the line negative in the position it is 
to occupy in the combination. The stripper then outlines the two 
films at one time by cutting with a sharp blade. As the films are kept 
wet while the work is being done, the scraps from the halftone nega- 
tive are easily removed and then by raising the remaining part of it, 
that part of the line negative just beneath, and which is not to be used, 
can be easily removed and the halftone negative dropped into the 
space the removed part occupied, and which it exactly fits since the 
two were outlined at one operation. Or, if the part of the line nega- 
tive under the halftone negative is perfectly transparent, it is often 
not removed, especially if the plate is for newspaper or similar use. 

When one halftone negative is stripped to join another halftone 
negative, any open space between the two, be it ever so small, will 


COMBINATION PLATES 305 


A line negative was made from a pen drawing of the border and lettering and halftone negatives, 150 line, of the 
horse and bull from photographs were inserted in it by stripping. The shading machine was used on the print on metal 
to produce the special effect in the background. 


Fig. 791. Combination halftone and line etching on copper. 


result in a black line or streak in the halftone plate, likewise should 
the film be accidentally torn and then imperfectly put together, 
while if one edge slightly overlaps that of the other an imperfect joint 
results. These imperfections are improved, or entirely eliminated, by 
tooling, or by cutting a white line on the plate. 


i ea st is ard 
et Bes ae a 
oJ os 
Be sense 
yee 


ot wa 87 oct 19 
78 . JOHES KANS NPT VIA SARANTOWIO TEXAS 
oun & : Fee CARL MCQUINN 
= oS 
oP 2 al 
388 08 NEW CASTLE IND. 
5 


oa aw BUSH OUR ORDER FOR DMRDIATE SHIPMENT 
HOOSIER CABINET SALES ARE BIGGER THIS YEAR 
THAN EVER BEFORS 
BERKE BILE AND LAND FAIR 
1oloa 20TH 


Double print outline halftone, 133 line. The upper view is a straight halftone made from a slightly retouched black 
and white photograph of the original telegram, it being necessary to photograph with special plate to obtain proper 
separation from the paper on which it was printed. For the lower view a plain screen halftone negative was stripped 
with the negative of the upper view and then a double print from a line negative of the lettering, etc., was made over 
the plain screen. The same copy was used as for the upper view. 


Fig. 792. Comparison of a straight halftone with a 
double print halftone. 


306 COMMERCIAL ENGRAVING AND PRINTING 


Combination square-outline-vignette halftone, 150 line. Made from photograph which had been vignetted and 
lettered. After the halftone negative of the entire subject had been printed on metal the lettering was painted in with 
the resist so it would remain solid and print in the full color. The halftone was then etched, after which those parts of 
the lettering that were to print outside the halftone were outlined and routed. Had there been sufficient of the lettering 
entirely separate from the halftone to justify it, this would have been made as a separate line etching and tacked on. 


Fig. 793. Lettering combined with a halftone by painting in 
on the plate, cutting and tacking on. 


DEEP ETCHING 


The halftone or line etching, that is to be used on.soft or rough 
finished stock, or for a long hard run, is often ordered with the stipula- 
tion that it be etched extra deep, but the term ‘‘deep etching”’ as 
commonly used has reference to the etching of the line part of a com- 
bination plate, or the etching away of the parts of the plate that are to 
form the high lights in a halftone, instead of tooling and routing away 
the metal in these parts. Line plates require deeper etching than 
halftones, otherwise on account of shallowness, the paper while being 


Big Profits: 


in HB Battery Charging 


we 


PATER URED 


The Stooring Coars 
wee ea 
Predomin. te | 


or 
J totor Trucs 


It is rightty efustructed. Hix 
of three tings—an daner of? 
two outlet or conforne eins 


Nigus wil pay for them 
in gas savest, fo cache 
and the eusrat jae 


teobor, 
MODERN ELECTRIC & MACHINE CO. 
$36.40 Fort Wayne Ave. 
Indianapolis, Ind., U, S.A. 


Fig. 794 is a combination double print halftone and line etching on copper. The halftone negative, made from a 
combination of photograph and drawing, was blocked out so that only the border, hand and ring would print on the metal. 
The lettering was double printed from a line negative. Fig. 795 is a combination halftone and line etching on zinc tacked 
in. Made from a combined drawing and photograph. The white line around the lettering, gear and inside the border was 
cut in the plate with a tool. Fig. 796 is a combination double print outline halftone. The halftone negative, from 
retouched photograph of charger, was stripped with the negatives for the flat tone halftone border and the lettering was 
double printed. All halftone negatives were made with 166 line screen. 


Fig. 794. Fig. 795. Fig. 796. 


Some types of combination plates for printing in one color. 


COMBINATION PLATES 307 


printed would be smudged by the plate between the printed lines. 
Deep etching is also employed when etching white lettering in halftone 
plates and for some outline halftones where a sharp outline is unneces- 
sary and where deep etching can be done at less cost than tooling and 
routing. The plate to be etched is painted over with the resist, leaving 
exposed only the surfaces that are to be etched away and the plate is 
then handled in the same manner as a line etching. In deep etching 
some subjects, such as a flat tone halftone, it is not necessary to paint 
the surface with a resist as the powdering of the plate between bites 
while etching will fill the screen where it appears in the subject so that 
those parts will etch only to the usual depth, while the open spaces 
are etched as much deeper as may be necessary by additional bites. 


Made from a crayon drawing; 60 line screen. 


Fig. 797. Highlight halftone for newspaper advertisement. 


DOUBLE PRINTING 


All line copy, when reproduced by the halftone process, is grayed 
or broken by the screen used in making the halftone negative, unless 
the lines in the subject, after it is printed on metal, are painted over 
with the resist to prevent them from being etched. If the lines are 
heavy, and there are but few of them, it is practical to paint them in on 
the plate before etching, but this can not be done if the lines are fine, 
or the detail small. And to obtain pure white lettering or lines in a 
straight halftone, even though they be white in the copy, it is neces- 
sary to either cut them in the plate with a tool after it is etched or deep 
etch the plate to eliminate the screen in these parts. 

To obtain more contrast and legibility when making a halftone in 
which black, or white, lettering or lines are to appear it is advisable 
when making the plate to make what is known as a double print, which 
is by some called a sur-print. When doing this it is necessary that the 
line part of the copy be prepared separately and as if only a line etching 
was to be made from it, while the copy for the halftone must be made 
without the lettering, leaving spaces in suitable tones of color for it, 


Pages 305 to 320, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


308 COMMERCIAL ENGRAVING AND PRINTING 


and adding register marks to both copies to indicate the proper placing 
of one over the other when making the print. The engraver makes a 
halftone negative from the halftone copy, and a line negative from the 
line copy, these being developed and stripped in the usual way. A 
print is then made from the line negative on the metal plate, after which 
this negative is removed from the printing frame and replaced with 
the halftone negative, which is placed in position to exactly register 
with the print made from the line negative. A print is then made on 
the same metal plate right over the line print from the halftone nega- 
tive. As the light reached the plate only through the lines in the line 
negative, the remainder of the surface of the sensitized plate was not 
affected when making the first print, and the lines in the print being 


Made from a crayon drawing; 150 line screen. 7 ae on 


Fig. 798. Highlight halftone for magazine advertisement. 


solid were not affected by the screen in the halftone negative, when a 
print from it was made over them. 

That lettering, or other line copy that is double printed, may be 
legible or in proper contrast, there must be sufficient contrast between 
the background and the parts double printed, a very light background 
being necessary for small lettering or fine lines that are to print in 
black, while darker tones may be used for heavier lines, and a very 
dark tone should be used if the lettering or lines are to show in white. 
To obtain white lettering or lines by double printing, the copy is pre- 
pared as if for black lines, a positive is made from the line negative and 
this is stripped into proper place over the halftone negative and the 
print made on metal from the combined negative. 

Lettering on combination plates is frequently so located that some 
of it appears in the halftone part of the plate and the remainder of it 
in line, the letters in a word often being made part by one process and 
part by the other. Large lettering that is to print in the full color on 


COMBINATION PLATES 309 


Made from a black on white print from a halftone; 150 line screen. The original copy was a combined crayon and 
wash drawing. 


Fig. 799. Highlight halftone for magazine illustration. 


the surface of the halftone, may be included in- the copy for the half- 
tone negative and staged in on the print on metal before being etched, 
thus eliminating all screen in such lettering. This was done in making 
the plate for Fig. 793. 


HIGHLIGHT HALFTONES 


These are halftone plates in which the elimination of the dots in 
the high lights is accomplished by a photo-chemical process instead of 
by cutting or routing them out with a tool. They may be made with 
any halftone screen and etched on either copper or zinc. They are not 
extensively used for general work because of their cost, and their use 
is confined mostly to magazine and book work,, newspaper illustrations 
and other large edition work, or to purposes for which their cost is 
warranted. They give the illustrative effect to the essential parts 
of the illustration, and a decorative as well as suggestive effect to the 


a Wi ton 


Made from a combined photograph and crayon drawing; 150 line screen. 


Fig. 800. Combination highlight halftone and halftone. 


310 COMMERCIAL ENGRAVING AND PRINTING 


Figs. 801, 802 and 803 were made from the drawing as shown 1 in Fig. 804. All are 133 line screen. The lettering 
for Fig. 803 was a separate drawing. Fig. 804 is a line etching on zinc. 


Fig. 801. Flat tone halftone. Fig. 802. One way screen flat 
tone halftone. 


remainder of it. The entire plate, because of its openness, is somewhat 
easier to print than the regular halftone. 

Copy for such halftones must be prepared especially for such 
effects. The high lights are drawn or retouched with pure white into 
which the middle tones and shadows end abruptly, instead of in a soft 
blended effect as in the ordinary vignette. In other words, the general 


Ini (noerwertine C 
Tedanspois 


WNorrcaces 
Generar Insorance i 

Rea Esrare 

Lawns — 

| SolBhdes esi 

Stocks 
~ Bonps. =a 
SrcuRITiEs lls 


Fig. 803. Combination double Fig. 804. Drawing as made for a 
print flat tone halftone. flat tone halftone. 


COMBINATION PLATES ai{Lil 


SESS SOSNS 


ieee SURG Ase eS 


Figs. 805, 806 and 808 were made with 150 line screen. Fig. 807 is a line etching on zinc. 


Fig. 805. A reversed, or white on Fig. 806. A double print and white 
black, flat tone halftone. on black flat tone halftone. 


EE 


SS 


COMBIN 


PLATES 


ee 


Fig. 807. The drawing as used for Fig. 808. Flat tone halftone of 
Figs. 805-6-8. border and lettering. 


effect of the copy should be the same as the effect to be shown in the 
print from the finished plate. 

In combining drawn backgrounds with photographs, when high- 
light effect is desired, backgrounds are often sketched in with pencil, 
crayon or pen and ink, the photograph being mounted in connection 
with the drawn work. 


In producing such a plate the most difficult part of the work is in 


Wik 
vera fe. Calit 


The black plate, 133 line, was made from an engraver’s proof. The color plate was made from a stained print from 
the combination negative for the black plate and the shading machine was used on the print on metal to obtain the tint. 


Fig. 809. A combination halftone and line etching on 
copper and a line color plate. 


The upper 
viewisa 
halftone 
made for 
printing in 
one color. 


The middle 
view is the 
halftone as 
made for 
overprinting 
flat colors: 


*Fig. 810. Halftone overprinting flat colors. 


making the halftone negative, which must be so manipulated 
as to eliminate entirely any appearance of the screen in the 
high lights. This not only necessitates certain manipulations 
of the screen itself, or the diaphragm, or both, but also 
very often requires special handling of the copy while 


*The entire page is a combination halftone (150 line) and line etching on copper and two color plates. 
From a pen drawing of the border and panels a line negative was made. Into this was-stripped the three 
halftone negatives of the car which were made from retouched photographs. The black in the lower view 
is a duplicate of the middle view. A print was made on metal from the combined negative for the black 
plate. Then the same negative was double printed with a plain screen negative, 100 line, for the orange 
plate. The border, and parts of the car after outlining, to print in this color were painted over with the 
resist that these parts would not etch and therefore print in full color, and after etching the panels were 
routed out, leaving of course, the parts for the car. A transfer was made from the black plate from which 
to cut the green plate. The black plate was mortised fcr the type. 


COMBINATION PLATES 313 


e 


wy 


Fig. 811. Squarehalftone Fig. 812. Combination Fig. 813. Outline-vignette 
overprinting part of flat plateoverprintingflatcolor halftone overprinting part 
color to give border effect. cut out under subject. of a flat color. 


bos 


Fig. 814. Squarehalf- Fig. 815. Oval halftone and line Fig. 816. Square half- 
tone overprinting a zinc border with flat color tone overprinting a 
flat color. between subject and border. flat color. 


Fig. 817. Vignette halftone overprinting part of a flat color. 


All halftones on this page are 150 line and were made from photographs. Borders were drawn for Figs. 812 and 
815. The outline for Fig. 812 was painted on the photograph by the artist, as was the gray for the background in Fig. 
815. The photographs for Figs. 813 and 817 were vignetted with the air brush. All color plates, including the tint border, 
which is a plain one-way screen halftone, 100 line, were mounted as one plate for printing, as was also the black plates. 


Fig. 818. Tint border bleeding off. Was made large enough to 
permit trim of 14-inch at top, bottom and right. 


314 COMMERCIAL ENGRAVING AND PRINTING 


Poens $204 


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INDIANAPOLIS INDIANA 
COLE AERO EIGHT ON NON STOP RUN LOWERED PORTLAND SANPRANCISCO RECORD BY SEVEN 
AND ONE HALF BOUKS FERIOD SLAPSED TIME FOR EIGHT HUNDRED FIFTY TWO MILES WAS 
THIRTY ONE HOURS THINIY MINUTES OVER MILES OF BAD DETOUR AND HEAVY MOUNTAIN 
GRADES PERIOD ONLY WORK DCNE ON CAR FOR ROUND TRIP WAS CLEANSING CF ONE SPARK 
PLUG PERTION CAR AVERAGED BETTER THAN TWELVE MILES TO THS GALLON OF GAS FOR 
ENTIRE SCUNG TRIP, 


P J FEBLY 
L D ALLEN INC. 814A JULY 15TH 


The black or key plate is a square-outline halftone, 150 line, made from 
a black and white photographic print of the original. This was printed 


over a flat color. 
Fig. 819. 


’ Outline halftone, 150 line, 
printed over a flat color. 


Fig. 820. 


The black plate is a line etching on zinc made from a 

proof from a wood engraving. The plates for printing the nn 
flat colors were cut. Circle-outline halftone, 150 line, from 
Fig. 821. photograph, and printed over flat color. 


‘Fig. 822. 


Fig. 823. 


All color plates on this page were cut from transfers made from the black plates. For printing they were mounted as 
three plates—all black plates on one, the orange plates as one and the green plates as the other. Figs. 823 and 824 are 
square halftones, 150 line, no line, made direct from the leather and cloth and printed over a flat color. 


COMBINATION PLATES a 


Fig. 825 is a line etching on zinc made from a pen drawing. The shading machine was used on the plate before 
etching to obtain the tint patterns. Figs. 826 and 827 were printed from electrotypes made from plate used for Fig. 825. 
The shading machine films used in laying the tints will be found among those shown in Fig. 135 on page 72. 


Fig. 825. Fig. 826. Fig. 827. 
Flat colors and tints in comparison with black. 


316 COMMERCIAL ENGRAVING AND PRINTING 


The halftone is 133 line, no line, and was made from a photograph. 


Fig. 828. Square halftone overprinting a flat color. 


under exposure. The stripping and printing on metal of such sub- 
jects is the same as in making regular halftone work, but in 
etching much extra time is required for staging and deep etching; 
and usually considerable extra work is also required for tooling in the 
final finishing. 


Square halftone, 133 line, with double line border. From a photograph. A stained print was made from the halftone 
negative and this was painted in and machine shaded for the color plate. 


Fig. 829. Halftone overprinting a line color plate, part of which 
is a flat color and part machine shaded. 


COMBINATION PLATES ple 


Square halftone, 150 line, with black line border. The photograph was mounted on the figured paper and from this 
the halftone was made. The wide white line between the view and border and the narrow white line just inside the 
black border line were cut in plate. An aniline print was made from the halftone negative for cutting color plate. 


Fig. 830. Halftone overprinting a flat color, parts of 
which have been cut out. ; 


The halftone is square, 150 line, no line. Made from a photograph. A line negative was made from a pen drawing 
of the border and into this was stripped the halftone negative. A print from the combined negative was made on metal 
for the color plate and the print treated so that the parts to print would remain after etching. 


Fig. 831. Halftone overprinting a flat color which is cut out of the background 
and from under a part of the subject, and used as a border. 


318 COMMERCIAL ENGRAVING AND PRINTING 


The halftone is 150 line, square, no line, and was made from a photograph. 


Fig. 832. Color plate made with mezzograph screen to work with 
halftone made originally for printing in one color. 


Owing to the extra time and care required for negative making, 
etching and finishing, highlight halftones cost considerably more than 
the ordinary outline or vignette finished halftone. They are in reality 
a form of combination plate, but require considerable more skill and 
labor in the negative making, etching and finishing. 

While highlight effects may be obtained by hand tooling a plate 
after it has been etched, the reproduction, because of the hard lines 
resulting, usually does not have an effect as soft and pleasing as if the 
plate had been made by the photo-chemical process. 

Highlight effects may also be obtained by painting over a flat 
etched plate with a resist covering such parts as are to print, then deep 
etching the high lights, staging, re-etching and tooling as may be nec- 
essary to obtain the desired effect. The highlight process of negative 
making is also used extensively in photo-lithography in connection 
with the offset process, such negatives being used to make the zinc 
plates from which transfers are made for the printing of pictorial and 
illustrative subjects. 

FLAT TONE HALFTONES 


Halftones for producing a flat tone effect are sometimes incorrectly 
called highlight halftones. Plates in which there is a background of 
one or more even tones which may be made fine or coarse screen, and 
in any tone of color, ranging from a very delicate tint to practically a 
solid color, are often used in printing tints. The tone of color in the 
plate is regulated by the kind of dot or line produced by the screen 
in the negative from which the print on metal is made, this being 
governed by the diaphragm, or stop, used and the ground photographed 
when making the negative. The tone of color may also be modified in 
the etching. Such tints or tones are often used as a background for 
lettering, the latter being double printed over it from a line negative. 


Pages 305 to 320, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


COMBINATION PLATES 319 


*Figs. 833 and 834. 
A vignette overprinted with type. 


Illustrations reproduced in flat tones are usually shown in a sil- 
houette effect, the tone of color being optional; and the reproductions 
are made from drawings also made in silhouette—solid blacks and 
whites. In making such a plate a line negative is made of the copy 
as in making a line etching, and this negative is stripped in the usual 
way. Over it is stripped a negative film of plain halftone screen which 
may be either in cross line, dot or one-way screen. The print on metal 
is then made from the combined negative, either on zinc or on copper, 
and the plate is etched in the usual way. Lettering or other matter 
to print in full strength of the color used in printing, or in white, mav 
be made a part of the plate by double printing. Different tones of the 
plain screen may be obtained on the same plate by staging and etching 
the different parts more or less to obtain the desired effects. 

Similar effects can be obtained by making a halftone from a draw- 
ing made in flat tones of gray, but it would be difficult to obtain 
smoothness and uniformity of color in the drawing and hand out- 
lining and routing would be necessary in finishing the plate, thus 
making some plates more expensive if that method was used. 


COMBINATION PLATES FOR COLOR WORK 


The possibilities for obtaining striking effects in combination plates 
is greatly increased when one or more additional colors may be used 
in printing. Plates may be made part halftone and part line on each 
plate of the set, or one plate may be entirely halftone, the others line 
or combination. They may be made for printing in any number of 
colors, and the halftones may be made in any screen, while the line 
etchings may be made to print in full flat colors or part flat and part 


*Fig. 833 (the marine view) is a square halftone, 133 line, no line, made from a photograph. Fig. 834 (the border 
and vignette) is a square-outline-vignette halftone, 133 line, made from a wash drawing. Illustrations are also often made 
with an extended vignette to be overprinted with type in a different color. 


320 COMMERCIAL ENGRAVING AND PRINTING 


in any desired tone or shade through the aid of machine shading on 
copy, negative or plate, or any other effects as produced in the copy. 

Color plates made in this manner are usually considered easier to 
print than two, three or four color process plates, but it is impossible 
to obtain the nice blending of color combinations, even though several 
printings are used, that may be obtained by the use of color process 
halftones. 

In making such plates the key plate, or the one that is to print 
the greatest amount of detail, is made in the regular way, except that 
proper provision must be made for its correct combination with other 
plates of the set. The method of making the color plates is almost the 
same as for making line color plates, except on account of the negative 
from the copy being usually at least part, if not all, halftone, provision 
must be made to avoid the screen that is obtained in the print. This is 
accomplished by making transfers, or aniline or stained prints from 
the negative. 

TRANSFERS, ANILINE AND STAINED PRINTS 


When a plate is required for printing in a flat or solid color and 
over which a halftone is to be printed in register in another color, the 
subject is usually transferred to a piece of blank metal as used in 
making line plates by etching, but instead of etching to obtain the 
printing surface in relief, that part which is to be finished for printing 
is outlined with a tool and separated from the remainder by routing 
the dead metal away. The plate is then mounted as may be required. 
To make a transfer, a print carrying a liberal amount of ink is taken 
from the halftone on a sheet of enamel coated paper, and this print 
while still wet, is placed face down on the blank metal and given a 
squeeze in a proof press. The wet ink on the proof leaves an impression 
on the metal sufficiently clear to enable the workman to outline the 
subject, or the part of it that is wanted, for the new plate. If more 
than one extra color is wanted for the subject, a transfer is taken for 
‘each plate required, and each of the prints is outlined and routed as 
necessary to obtain in the plate its proper part of the subject for that 
color in which it is to be printed. The transfer process is also often 
used in connection with the production of other special plates since it 
affords an easy method of transmitting an outline or shape from one 
plate to another. 

If the negative from which the key plate was made is available, 
an aniline print is usually made from it on blank metal for the guidance 
of the workman in cutting flat color plates. In making such a print, 
the metal is sensitized and exposed to the light in the usual way. The 
print is developed, but as it is not visible on the plate, a small quantity 
of a weak aniline dye, usually violet, is poured over the plate and this 
is absorbed by the print in such a way as to bring out the subject clean 
and sharp in the print after washing with water. Because orthe 
sharpness of aniline prints, the workman is able to follow the outline 
more definitely and a better register of the plates is obtained than is 
usual when the transfer process method is used. 3 

The stained print is another kind of print that is often used when 
making line color plates, especially if the key plate of the subject isa 


COMBINATION PLATES Bel 


halftone and the color plate to work with it is to be machine shaded, 
or if the copy reproduces as a solid color where a machine shaded tone 
of color is wanted. This kind of print is made from the same negative of 
the copy as the key plate, and as though it were to be etched in the regu- 
lar way, but instead of burning it in, after developing and washing, it is 
given a very short bite in the etching solution and-when the print is 
then washed off of the plate, a very faint image remains which serves as 
a guide to the artist for the outlines and location of the parts that are 
to be machine shaded or otherwise treated. Plates which are to 
print a solid color, if etched from prints made from a halftone negative, 
must be painted over with a resist and outlined to avoid the screen. 


OVERPRINTING COMBINATIONS 


When a halftone is used as a key plate it must be so made as to 
print in a very light tone of color, so that the color or colors it over- 
prints will show through with sufficient strength. The halftone usually 
must carry all of the detail and the copy may be so treated that the 
flat surfaces and high lights will be light in color. Halftones originally 
made for printing in one color are seldom suitable for subsequent use 
as key plates for combination color work, because they print too dark 
for the underlying colors to show through properly; on the other hand, 
halftones made for use as key plates in combination color work are 
usually too light in color to be used satisfactorily for one-color printing. 
Special preparation of copy is nearly always necessary to produce a 
halftone of proper color for use in making a key plate for combination 
color work. This is illustrated in Fig. 810. The strength of color in 
the halftone key plate may also be governed to some extent by the 
manner in which it is etched. Whether the key plate be made from 
properly prepared copy, or the desired strength of color obtained for 
overprinting by special etching, the underlying colors will be more or 
less subdued, thus making necessary the use of stronger colors when 
they are to be overprinted than if to be used separately. Shaded tints, 
when overprinted, are often disappointing on account of weakness in 
color and if printed in a strong color will often produce a pattern or 
moire effect. 

In the printing of such plates, several prints are usually made from 
the key plate and these are used as guide or key sheets, with which to 
register in correct position the other plates of the set as the printing 
of each color begins. The lightest color of the combination is usually 
printed first, followed by the remaining colors in the succession re- 
quired to obtain the desired combinations through one color over- 
printing another, the key plate being printed last. The order of 
printing, however, is often reversed, the key plate color being printed 
first and the other colors overprinted—a method made possible by 
using transparent inks. The latter plan was followed in printing 
pages 305 to 320, inclusive, all of which were printed together. The 
type matter and the black plates for the illustrations were printed first 
in one form, after which all of the green plates were printed in the 
second form and then all of the orange plates in the third form. 


ny PA COMMERCIAL ENGRAVING AND PRINTING 


COLOR PLATES TO WORK WITH OLD PLATES 


While it is not impossible to make tint or color plates to work with 
halftones made originally to print in one color, it is not always prac- 
tical, and results are more or less unsatisfactory, especially if there is 
to be an attempt to blend colors. Even the use of flat or solid tints 
with such plates is usually impracticable and unsatisfactory if they are 
to underprint, because the halftone usually can not be re-etched to 
obtain lightness in color to permit the underprinting color to show 
through as strongly as desired. It is usually impracticable to re-etch a 
halftone satisfactorily after the enamel, which is the resist on the face 
of the plate, has been worn or removed, although it is sometimes done 
after applying a new resist to the surface of the plate with a roller. 
It is always advisable to make the complete set of color plates at 
one time, in order that the work throughout may be so handled as 
to obtain the proper blending of colors and the correct carrying out 
of the color scheme. 

A color or tint plate may often be made to work with a line etching 
previously made. To make such a plate it is necessary for the engraver 
to have the old plate so that a transfer may be made from it, from 
which to cut the new plate. In making a color plate by this method 
it is not possible to obtain many of the effects that would have been 
obtainable if the color plate had been made at the same time as the 
original plate. 


COMBINATION EFFECTS AND A WORD ABOUT COSTS 


When reproducing some subjects, especially magazine advertise- 
ments in which the artist has planned complicated special effects, it 1s 
often necessary to make use of several of the special operations that 
are not used in making the ordinary plate or set of plates for color 
work. A single plate for reproducing the copy may require two or 
more negatives, some of which are line and others halftone with dif- 
ferent screen or at a different focus. Then these negatives or a part of 
them may require special treatment, such as retouching, opaquing, 
machine shading, or other treatment in addition to the usual trimming 
and stripping. To obtain the proper print on metal it may be neces- 
sary to double print for black or white lettering, or both, while the plate 
itself may require special deep etching, tooling and routing. It may 
also be found more practical to outline some parts of the subject on the 
plate with a tool and route away the part that would ordinarily be 
etched out, and different parts of some subjects may be more con- 
veniently made up separately, and the parts afterward assembled on 
one mount to obtain the complete subject in one plate. These special 
operations may apply to a single plate of a subject for printing in one 
color, or to one or more of the plates in a set for printing it in colors. 

In fact, every artist and almost every advertiser strives to devise 
some new and effective method of treatment, and to meet these de- 
mands the engraver finds it necessary to devise various methods to 
bring about the desired results. Copy from which combination plates 
are to be made must be prepared in such a manner that the line copy is 


COMBINATION PLATES LO 


entirely separate from the halftone copy, that no difficulty may be 
experienced in making the negatives. 

It is obvious that there can be no fixed scale of prices for combina- 
tion plates. The cost depends entirely upon the nature of the job in 
question and the various operations required to produce it. 

In computing the cost of such plates, if to print in colors, not only 
is each plate charged for according to its own make-up, but an extra 
charge is made because of the special handling necessary on account of 
the other plates that work with it, and in addition there are items for 
extra negatives, special stripping and printing, special etching, routing, 
tooling and finishing, as well as art work on plates, proving and other 
special work, as each job may require. 


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conditions and customs that are the same whether the work being 

done is line etchings or halftones, or for plates produced by either 
process for printing in one or more colors. There is also such a close 
connection between the two branches that they are usually worked 
jointly in all shops; and, as more illustrations are produced by these 
methods than by all other methods combined, a review of some of the 
most important of these customs and conditions will be helpful. 


|: ordering and making photo-engravings, there are many general 


A SERVICE SPECIAL TO ORDER 


Photo-engraving, unlike most manufacturing industries, is a serv- 
ice producing a product that is made specially to order. It 1s impos- 
sible for the engraver to anticipate in advance of receipt of the actual 
order what the work is to be, thus making it impossible to make up the 
work and hold it in stock for delivery on receipt of the order. Further, 
it is an individual service, of value to one person or concern only, and 
that the one actually ordering it. Thus as soon as any of the work 
necessary to the production of a plate is accomplished, there has been 
an expense for materials and workmen’s time, which in case of cancella- 
tion, or change, must be charged to the one ordering the work, the 
amount depending upon the stage of the work at the time of change or 
cancellation. 

Practically every plate is different in either size, style, screen or 
subject, and the work adapted to the needs of one customer is seldom 
suitable to those of another, thus making it impossible to put the 
work back in stock to be sold to another; nor can the used materials 
be salvaged to be worked over again. 

A court decision has classified photo-engraving as an art the 
product of which is non-merchantable, and it is not the product of a 
manufacturing establishment, but it is a product which is sold on the 
basis of the skill required to produce it as well as the labor and material 
involved. 

To the novice the processes of making line etchings and halftones 
may appear to be a simple procedure, and one easily mastered, but the 
opposite is true. Very few workmen can successfully manipulate all 
of the operations necessary in making the most simple plate, every 
man having had years of training and specializing in some certain 
branch of the work, such as line photographer, halftone photographer, 


*Combination one-way screen flat tone halftone, 133 line, and line etching on copper. Made from a pen drawing. 


GENERAL PHoto-ENGRAVING INFORMATION See 


stripper, printer, line etcher, black and white halftone etcher, color 
halftone etcher, router, blocker, finisher, prover, etc. The labor is 
thus not only highly specialized, but for the best grade of work the 
equipment, materials, chemicals, etc., must be of high quality and 
worked in a cleanly and methodical manner. 


PRELIMINARY WORK 


Buyers of photo-engraving are expected to pay for the expense 
incident to the development of new ideas, which involves the prepara- 
tion of sketches or experimental work in drawing, retouching, or plate 
making. Any engraver will gladly co-operate in planning and devel- 
oping a piece of work, making a fair charge for the service rendered, 
but it is manifestly unfair and unbusinesslike for a buyer to ask several 
concerns to submit sketches and plans, these often involving a con- 
siderable expense to each concern, with the expectation of paying for 
only the one accepted. The better engravers now take up such pre- 
liminary work only with the understanding that they are to carry the 
work through to completion, or that they will be reimbursed for the 
cost of the sketches, etc., in case the work is not finished, or if some 
other plan is adopted. The artists employed by an engraving house 
receive a stipulated salary, and it can be readily seen that the time 
they devote to making preliminary. sketches should be productive of 
a profit the same as their time when utilized in making drawings to 
be reproduced. No one can afford to make a ten-dollar sketch on a 
chance of getting a twenty or thirty-dollar order when several concerns 
may be in competition for the work. Further, the preparation of 
sketches usually requires the services of one of the most expert men 
in the organization and one whose time and producing ability is very 
valuable to the employers, thus making it all the more essential that 
remuneration be obtained for his full time. 

Cheap art work and plates are usually the most expensive in the 
end, especially if they are to be used in a selling campaign. Good 
photographs, or effective and well-made pen or wash drawings, or well- 
retouched photographs reproduced through the best class of printing 
plates, give an added selling value to any well-printed piece of adver- 
tising literature. 

COPY FOR REPRODUCTION 


Buyers of engraving offer practically everything conceivable to 
the engraver for reproduction in printing plates for illustrative pur- 
poses. Poor copy is often the only kind available, but very often. the 
buyer could contribute to better results by being more careful and 
exacting in the selection of the copy and the manner in which it is 
presented to the engraver. It is obvious that the more suitable the 
copy for reproduction the better the reproduction will be. 

The untoned prints of portraits usually submitted as proofs by 
photographers can not be used for making halftones. After toning 
they are too weak for reproduction, and, as they must be subjected to 


Pages 321 to 336, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


326 COMMERCIAL ENGRAVING AND PRINTING 


a strong light in making the halftone negative, they become discolored 
and lose detail before the negative can be obtained if not toned. 

Halftones are not made from negatives as used in regular pho- 
tography. A print from the photographic negative is required from 
which to make the halftone, and this print should be as good as the 
negative will produce. However, when the one producing the negative 
is not in position to furnish the proper print from it, the negative may 
be sent to the engraver so that he may make a better print to be used 
as copy; or use it for making a special print such as a bromide enlarge- 
ment or reduction, a print after blocking out the negative, a print 
with special margin, or any other special print the order may require. 

Photographs sent to the engraver may be either mounted or un- 
mounted. If unmounted they should never be rolled while damp and 
should be dried and sent flat or rolled loosely. If mounted, the surface 
of the card used for mounting should be smooth and the card should 
not be allowed to curl. The card need be but little larger than the 
photograph, as the larger the card the more danger of damage while 
in transit if the copy is to be mailed. 

While it is preferable that copy from which either halftones or 
line etchings are to be made should be large enough to permit of some 
reduction in making the reproduction, it is not an absolute require- 
ment. Any amount of reduction or enlargement can be obtained in 
the reproduction, but if reduction is too great the loss of detail will 
affect the value of the illustration, while if enlargement is too great 
there will be in the reproduction a noticeable coarseness and magnifi- 
cation of the imperfections of the copy. If the reproduction is made 
the same size as the copy, the imperfections in the copy are usually 
emphasized slightly rather than reduced. 

Some line copy will reproduce better in halftone than in a line 
etching, while some copy that might seem suitable for reproduction 
in halftone will reproduce better in a line etching. A good, clean 
halftone print made from plate for which 60 to 85 line screen was 
used, can often be reproduced in a line etching to better advantage 
than by halftone, if the size of the new plate is to be the same size as 
the copy or larger. The sharpness of the print and the coarseness of 
the screen will largely determine the results that may be obtained. 
Lithograph prints in one color, which have been printed from fine 
stipple engravings, usually reproduce well by the halftone process, 
while the coarser stippling and ruled shaded work, as well as lettering 
can nearly always be more successfully reproduced in a line etching. 

Fine line copy, such as lithograph prints or those from steel plates 
with finely shaded grounds, can often be reproduced satisfactorily in 
a line etching if slightly enlarged. If reduced, or made the same size 
as the copy, the increased fineness and closeness of the lines in the 
reproduction will cause the spaces between them to become shallow 
or filled up and the plates will not produce clean and sharp prints. 
While there may be some loss of detail in reproducing such copy in 
halftone in a reduced size and often a moire or pattern effect is ob- 
tained, this does not affect the printing qualities of the plate, as it 
can be etched to the usual depth. 

It is impossible to obtain by letterpress printing the fine, delicate 


GENERAL PHotTo-ENGRAVING INFORMATION O27 


lines and effects that are to be obtained by lithography or steel plate; 
by reproducing lithographed or steel plate copy, or by making plates 
from original line or wash drawings in either line etchings or halftones. 

Lettering is always more satisfactorily reproduced in line etching 
than by halftone, and when reproduced as a halftone it should be 
double printed whenever possible. When a halftone negative is made 
of lettering its strength is reduced on account of the screen, and unless 
the lettering is large and of a heavy face, which will permit the etcher 
to paint over it on the plate with a resist before etching, it will be gray 
and indistinct in the reproduction, and if small in size will be so badly 
cut up by the screen as to make it more or less illegible. 


REPRODUCING ILLUSTRATIONS FROM BOOKS AND VALUABLE COPY 


While it is more convenient to reproduce prints from loose sheets, 
reproductions of illustrations from books are often made without 
damage to the books. Properly securing such copy to the copy board 
while the negatives are being made is the only obstacle in making such 
reproductions, but by resorting to different methods as may be neces- 
sary for different subjects, the difficulty in posing copy is usually 
easily overcome. 

Valuable photographs, manuscripts, and other documents which 
must be preserved without damage are usually placed under a glass 
which is hinged or clamped to the copy board to hold it in position 
while the negative is being made, the subject being photographed 
through the glass. As there is more or less difficulty from halation 
in photographing under these conditions, most operators prefer to 
attach copy to the copy board in some manner that will permit ob- 
taining direct exposure. 


PROPORTIONING AND TRIMMING COPY 


There is no fixed rule among engravers governing the relation of 
width to height for illustrations or their reproductions. The size and 
proportions are governed by the nature of the subject, the space in 
which it is to be used, or the special ideas of the buyer. 

The proportions of width to height of subjects photographed or 
drawn without backgrounds to be reproduced in either halftones or 
line etchings can not be changed without distortion. The size for the 
reproduction, therefore, must be determined by giving one dimension 
and letting the other come as it will. 

Unnecessary background on photographs or wash drawings is often 
eliminated by trimming, likewise line copy, and the trimming points 
should be noted on the margins of the copy. 

Lines indicating where copy is to be trimmed should not be drawn 
across the copy, either in pen and ink or pencil, as such lines are often 
out of square or improperly placed. 

It is possible to obtain any width or height in a halftone or line 
reproduction, provided, of course, it is within the range of the copy 
and the engraver’s equipment, as the size is changed by moving the 
camera forward or backward any distance required to obtain the 
desired size. Exact sizes require the use of the prism. 


328 COMMERCIAL ENGRAVING AND PRINTING 


HANDLING LARGE COPY 


The reproduction of a large piece of copy, whether to be made in 
line etching or halftone to a greatly reduced size, usually calls for an 
extra charge for special handling. 

If the copy is being reproduced in halftone, the reduction may be 
so great as to make it impossible to obtain the required reduction and 
make the halftone negative direct from the copy. In such case it may 
be necessary first to make a photograph of the copy to obtain a part 
of the reduction and then obtain the required size in the halftone by 
making the negative from the photograph of the copy. If the copy is 
being reproduced in a line etching, it may be necessary first to make 
a photographic negative and from this obtain a black and white print 
from which to make the line negative for the final reduction, or it may 
be necessary to make an etching, obtaining in it a part of the reduction 
required and then make the required plate from a proof of the first 
etching. 

In making a very large plate it may be necessary to make the 
negatives in sections for the reproduction, stripping the several 
negatives of the different parts together to obtain the complete 
negative of the entire subject from which the plate is made. 

It would, of course, be impractical for any engraving company to 
keep in constant use, or to provide itself with large equipment which 
would be used only infrequently, in order to be prepared to handle 
large copy without special preparation or extra expense, when the 
greater part of its work is in making plates of smaller sizes. Further, 
no equipment is made large enough to handle in the regular way 
unusually large plates, and in making these, as well as those which 
may be larger than those normally handled, it is often necessary to 
readjust and move equipment as well as to improvise camera stands, 
copy boards, etching tubs, etc., and for this special service extra charge 
is made. ° 

INSTRUCTIONS FOR ALTERATIONS 


No part of copy that is to be reproduced should ever be written on 
with pencil, pen and ink or otherwise marked or mutilated, as such 
markings often necessitate considerable expense for artist’s time to 
eliminate the damage and to put the copy in proper condition for 
reproduction. The better plan for giving such instructions is to attach 
a sheet of thin tissue to the top edge of the photograph or drawing, 
letting the tissue cover the face of the copy, and on the tissue make 
such notations and marks as may be necessary for the proper instruc- 
tion of the artist. 

Instructions should not be written on the backs of unmounted 
photographs that are to be retouched. Such photographs must be 
mounted before they can be retouched, thus making it necessary to 
copy the instructions, and in so doing there is a possibility of error, 
or if through oversight the matter is not copied, important data are 
often lost. Instructions may be typewritten on a separate sheet and 
sent to be pasted on the back of the photograph after mounting. 

When indicating corrections to be made on a wash drawing or a 


GENERAL PHOTO-ENGRAVING INFORMATION 329 


retouched photograph, these should not be made on the face of the 
drawing or photograph, but instructions should be noted on a tissue 
overlay with a soft pencil. If there is no tissue overlay, use may be 
made of any kind of thin transparent paper that will permit proper 
location of the special points to which attention is to be given. Marks 
on the copy direct, or with a hard pencil on the tissue while placed 
over the copy, may so damage the drawing or photograph as to make 
the elimination of these marks difficult, in addition to the extra expense 
involved. 

Instructions for alterations in line copy should also be made on a 
tissue overlay, or otherwise, and not by marking on the drawing. 

Care should be exercised when writing on the backs of unmounted 
photographs that are not to be retouched, as often when they are 
placed on a soft surface and written on with pencil or pen the pressure 
is sufficient to cause raised lines to show on the reverse side or face of 
the photograph. These lines may cause imperfections in the printing 
plate or an extra expense for their removal. If pen and ink are used 
in writing on the backs of photographs or drawings, be sure that the 
ink is dry before placing another photograph or drawing on top; 
otherwise a spot or blot may result on the face of one of the pieces of 
copy which it will be difficult to remove. 

While complete instructions may be written or attached to copy 
when sent to the engraver by messenger or by express, if the copy is 
to be mailed only an identifying number or character may be placed 
on it without subjecting it to the first class rate of postage. 


HOW TO ORDER PLATES, ENGRAVERS’ CUSLOMS, 56 LC. 


That plates may properly justify and work with the material used 
by the printer in making up the printing forms, the size for all plates 
should be given in picas, the common unit of measure used by the 
printer. There are six picas to an inch. 

The size specified is always understood to be face measure of the 
plate, which is its printing surface, unless otherwise stated. 

If a vignetted halftone is ordered, the size given should include 
the vignette and due allowance should be made to leave sufficient 
space between the extreme edge of the vignette and the type which 
is to adjoin it. It is difficult and sometimes impossible to make ready 
a vignette properly if it is placed too closely to adjoining type matter 
or other printing surface. 

Do not give both dimensions for the plate unless it is necessary, 
but be sure that the one not given will come to meet requirements. 

If the block on which the plate is to be mounted must fit a certain 
space, the measure of the block should be specified so that the face 
of the plate may be reduced if necessary, or other provision be made for 
mounting the plate on the block. In addition to the size, if a halftone, 
it is necessary for the engraver to know what screen should be used, the 
style of finish, and if square, oval or round he should be instructed as 
to whether or not it is to be finished with or without line. 

Those who are not familiar with engraving requirements should 
state the size and for what purpose the plate is to be used, permitting 


330 COMMERCIAL ENGRAVING AND PRINTING 


the engraver to use his judgment as to other details. If a halftone is 
being ordered and the size is given, it is usually sufficient to state the 
name of the publication in which the plate is to be used. If it is to be 
used for job work, state whether it is to be used for circular or catalog 
and send sample of paper on which it is to be printed, if possible. 

If a coarse screen halftone is ordered, specify whether it should 
be made on zinc or copper. 

If an irregular mortise is wanted, outline definitely the space 
necessary to accommodate the type matter that is to be inserted. This 
can be done easily on a tissue overlay and it will often save consider- 
able expense for unnecessary work. 

While most all copy that is to be reproduced by photo-engraving 
will be subject to slight damage on account of the necessary handling 
by the workmen through whose hands it must pass, valuable copy, by 
being handled with special care, may be reproduced with little or no 
damage if a request to this effect is made when placing the order, in 
case the copy itself does not indicate its value. 

It is more convenient for future reference to title properly in the 
order all subjects of which plates are made. If the records of the 
engraver show the order to be for a portrait of John Smith or a line 
etching of Touring Car, Model 20, it requires much less time to locate 
a previous order in case it is necessary to make reference to it than if 
the subjects are entered on the records as simply “‘portrait”’ or ‘‘auto- 
mobile.’ It will also facilitate matters to give the engraver’s order 
number when referring to a previous order. Likewise the engraver 
should make use of the customer’s purchase order number. 

It is a standing rule with photo-engravers that when an order is 
given in which the dimensions for both height and width are given for 
the plate to be made, and when the copy will not reduce to the exact 
size given, to make the reproduction of a size that will come within 
the two dimensions specified on the order. 

Buyers frequently overlook the fact that a plate of the style or 
size they order can not be made from the copy furnished without 
alterations. Square finish halftones can not be made from many 
oval photographs without special treatment; it is often impossible to 
obtain both the height and width as specified, etc. When changes are 
_ required in copy, instructions should be given accordingly. The width 
and length of column and the size of pages in magazines, trade journals, 
newspapers, etc., vary, and the correct size in picas should always be 
given instead of specifying single column, double column, quarter 
page; cic: 

If plate is to be used inside a border, due allowance should be 
made for the border, and the space between it and the plate, which 
will necessitate reducing the size of the plate from that which could 
be used in the same space without border. 

Halftones, line etchings, electrotypes, nickeltypes, etc., are usually 
mounted on wood bases type high, and if wanted otherwise the order 
should specify accordingly. Plates intended for use in publications 
that print from stereotype plates should be ordered unmounted. Line 
etchings and halftones that are to be used exclusively for electrotyping 


GENERAL PHOTO-ENGRAVING INFORMATION 331 


TCicas jy! 


oS 


Line etchings on zinc. Made from hand written copy. 


Fig. 841. Characters for indicating on copy size for plates. 


should be ordered unmounted and with dead metal left on them so 
that the electrotyper may obtain best results. 

Though width is usually understood to mean left to right and 
height to mean top to bottom, there are many misunderstandings on 
this point, especially in connection with long narrow subjects, but it is 
always safe to specify width and height if the former is followed by 
the words “‘left to right’”’ and the latter by ‘“‘top to bottom.” 

There is also a rule followed by many when giving a size to write 
or state the left to right dimension first, following this by the dimen- 
sion of top to bottom. As not every one is familiar with this rule, the 
arrangement of the figures or method of statement can not always be 
depended upon. The use of an arrow in connection with a figure to 
indicate direction of dimension is a definite way to designate size on 
copy. Stop marks at the points of the arrows would indicate that 
the size of the subject in the reproduction was to be that indicated 
between marks but to include the entire subject in the plate unless 


Square-outline halftones, 150 line. Made direct from the copies, including mounts, just as sent to the engraver. 


Fig. 842. Size for entire Fig. 843. Size for a certain part, 
subject. but all to be included. 


Manner for indicating on copy size for plates. 


332 COMMERCIAL ENGRAVING AND PRINTING 


instructions are given to trim the copy. It is always understood, of 
course, that the mount is not to be included in the reproduction, but 
it is to include all of the subject proper unless other instructions are 
given. 

One-half reduction is understood to mean that the copy is to be 
reproduced in a size one-half as wide and one-half as high as the 
original, which will result in a plate the area of which will be equivalent 
to one-fourth the size or area of the original copy. 

The space between columns in different publications varies and 
in giving size for double column, or larger plates, the width of the rule 
or blank space between columns must be taken into consideration as 
well as the width of the column proper. 

The size of a street-car advertising card is 21 x 11 inches-and if a 
design with border, or one with essential detail running to the edge 
is used, it must be made of such size as to allow a margin of 34 inch 
around the outer edges of the card, which space is covered by the 
frame holding the card in position in the car. 

The word ‘‘cut,’’ although commonly used in referring to almost 
every kind of printing plate, is a misnomer and a very indefinite term 
to use in ordering plates. Each kind of plate should be called by its 
proper name, 1. e., halftone, line etching on zinc, line etching on 
copper, wood engraving, electrotype, nickeltype, stereotype, etc. 

All special work should be specified unless the engraver has standing 
instructions or special permission is given him to use his judgment 
concerning details with which the buyer is not familiar, or those extras 
which will be justified for the betterment of the work. 

Written instructions should always be given whether the order is 
sent by mail, by messenger or salesman. Both time and money will be 
saved by being explicit and making the order complete in all details. 
An order properly started is well along on the road to completion. 

Specify the time delivery should be made, and if the work is 
required for a publication going to press on a certain date, so state. 
If delivery is not to be made to the person or concern sending the order, 
so state and advise as to disposition of plates, copy and proofs. 

The sheets of copper and zinc used in making halftones and line 
etchings may be obtained in different sizes, ranging from 8 x 10 to 36 
x 40 inches. The usual thickness used is 16 gauge, which is about 1/16 
of an inch thick, and the side of the sheet on which the etching is done 
is highly polished. Thinner metal may be obtained, but it is regarded 
as not so durable for general work, while a thicker metal is not regarded 
as necessary except for special purposes and is considerably more 
expensive. A special buffed zinc is also made on which to etch line 
color plates, such as those on which the shading machine is used. 
Also, both copper and zinc may be obtained in 11 - point thickness, 
which, after etching, can be used on patent bases without backing up. 
The I1-point zinc is also extensively used in making zinc embossing 
dies. An extra charge is made when thick metal is used, not only 
because of the extra cost of the material over that ordinarily used, but 
because of the extra expense involved in the production of work for 
which the special metal is used. If plates are wanted on metal of a 
special thickness the order should so specify. 


GENERAL PHoTo-ENGRAVING INFORMATION Bo 


SENDING COPY TO THE ENGRAVER 


When sending photographs, drawings or other pieces of copy to 
the engraver, they should be carefully wrapped when sent by mes- 
senger, or packed securely if sent by mail or express, using corrugated 
boards or other substantial protection which should be sufficiently 
large to extend beyond the edges of the copy, wrapping and packing, 
in such a manner as to insure against folding, or broken corners or 
edges. Damage to copy in transit can be avoided by careful packing 
and when the copy arrives in good shape there is no delay or expense 
incident to its repair. It is advisable to send all copy flat, but when it 
can be rolled and is sent in that manner it should be properly pro- 
tected in a strong tube. 

Copy that has been framed should be removed from the frame 
before being sent. While many pieces of copy can be reproduced 
without removing them from underneath the glass in the frame, the 
work can usually be better done, and with less inconvenience, if such 
copy is removed from the frames. Alterations in the copy, of course, 
will necessitate removal from the frame and in case of shipment by 
express the expense of packing and transportation is lessened and the 
danger from breakage and damage from broken glass is avoided if 
the unframed copy is sent. 

When only part of a valuable photograph or piece of copy is to 
be reproduced, it is a good plan, to prevent the possibility of soiling, 
to enclose the copy completely in a wrapper or envelope which may 
be made by folding a blank sheet of paper over the photograph and 
sealing it as if it were an envelope. An opening or window may be cut 
extending over that part of the picture that is to be reproduced. By 
cutting this opening on only three edges the fourth serves as a hinge, 
so that part of the cover may be folded back while the copy is being 
worked on, and it will also act as a flap or cover for the protection of 
the copy when it is not in use. When the work is finished the envelope 
may be removed and the copy returned in its original condition. 

The sender’s name and address should always appear on the 
package, and if the copy is sent by mail or express the order should 
be sent by separate mail. This is especially important when the 
engraver is to be allowed only a short time in which to complete his 
work. Package mail is frequently delayed in delivery, and if the order 
is received in advance, preparations will be made for prompt execution 
of the work upon the arrival of the copy. When only a limited amount 
of time can be allowed the engraver to complete the work the copy 
should be sent when possible by special delivery mail, thus making 
sure of its prompt delivery and giving the engraver the greatest amount 
of time possible for the work. 7 

It is never advisable to write the order for plate on the copy, and 
when an order for several classes of engraving is being sent at the same 
time to the same house, a separate order should be given for each class 
of work, since this will expedite matters with the engraver in getting 
the several orders started promptly through the proper departments. 


Pages 321 to 336, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


334 COMMERCIAL ENGRAVING AND PRINTING 


SKETCHES 


When an original design or illustration is to be produced by the 
engraver’s artist, it is customary first to prepare a preliminary sketch 
or layout of the subject for the approval of the buyer, as by so doing 
alterations may be made at this stage at slight cost and the plan 
changed if necessary, making sure acceptance of the finished work. 

The method of handling the preliminary work in such cases is 
governed by the buyer’s familiarity with such work and his ability 
to make his wishes known to the artist and, of course, the less expense 
involved in the preliminary work the less there will be to add to the 
cost of the work on this account. 

Sketches are usually made in the same size as the reproduction is 
to be made, varying in quality of execution from the very rough and 
quickly prepared pencil sketch to the finished sketch which may be 
worked out in careful detail in pencil or pen and ink, or in color if to 
be printed in more than one color. Such sketches, of course, convey 
to the buyer the exact appearance of the work, and when accepted, 
or accepted with alterations, there is little possibility of disappointment 
on account of misunderstanding or dissatisfaction when the work is 
- complete. The time of the artist required for preparing sketches, 
although after completion they can be used for no purpose except as 
copy to follow in executing the actual order, is added to the cost of 
the work. 

In executing orders for those who are more familiar with the 
methods of producing commercial art work, instead of preparing a 
sketch before proceeding with the actual drawing, a pencil layout is 
often submitted. This may be submitted in a very rough state, or it 
may be carefully prepared, and as whatever work may have been done 
on it has been done on the material on which the working drawing is 
to be made and in the size suitable for the working drawing, the pre- 
liminary work if approved may be utilized in finishing the subject, 
there being no waste of time on account of the preliminary work. In 
other words, the pencil layout is the preliminary work on the actual 
drawing submitted at an early stage. The pencil layout is not in so 
convenient a form to submit to the customer as is the sketch, especially 
if it must be sent by mail or express to an out-of-town customer. 

When subjects are to be reproduced in more than one color, a 
rough color scheme is often made on a tissue fly or overlay covering 
the sketch or layout. Such indication of the color treatment not only 
serves to obtain the buyer’s approval for the plan under consideration, 
but also serves as a guide to the engraver for the making of the plates 
to print in accordance with the color scheme. 

In preparing the sketch or layout it is, of course, necessary for the 
artist to know the size of the page or sheet that the design is to be 
printed on, the number of colors in which it is to be printed, the kind 
of paper on which it is to be printed, the lettering, whether or not the 
design should be symbolic or suggestive of the line of business which 
it is to exploit, or purely decorative, and other special instructions 
that the buyer may wish to give on these or other points. If the subject 
is to be printed on colored paper and the choice has been made, the 


GENERAL PHoto-ENGRAVING INFORMATION DOD 


artist should be advised as to the color and kind of paper, so that the 
sketch may not only be prepared to show a combination of the design, 
color scheme and stock, but that also a method of treatment will be 
suggested that will be suitable to the paper. The artist should, of 
course, use only the colors that have been chosen for printing the de- 
sign, making only such combinations of color in the sketch as may be 
produced by these colors. Any variance would possibly necessitate 
an extra plate or plates and extra printings if the customer should 
insist upon an exact reproduction of the sketch. 


DUMMIES AND LAYOUTS 


If a folder, booklet or catalog is being prepared, after the copy 
is completed and the general plan and size determined, all data and 
copy should be placed in the hands of the designer for a dummy. The 
buyer’s ideas as to the layout should be given to the artist in order 
that he may co-operate and thus work along lines most likely to be 
acceptable. In the preparation of such a dummy, the design for 
cover, title page, running heads, embellishments, the size and style of 
illustrations, etc., are indicated and the general plan worked out and 
approved, after which the working drawings and the necessary plates 
may be made up with the assurance of meeting all requirements. 

Some concerns do not photograph the subjects that are to be 
illustrated until after the layout for the piece of printed matter in 
preparation has been prepared, after which the subjects are specially 
posed or photographed to obtain the copy for the necessary illustra- 
tions. On the other hand, most printed matter is designed to make 
effective use of the photographs or drawings already in hand for the 
illustrations. The dummy or layout should be prepared before any 
plates are made, as it is often difficult to handle plates that have been 
made up without regard to their use in any certain piece of work. 

When an artist is taken from his regular work in the studio and is 
sent out to obtain data or instructions for work that is to be done, 
it is customary to charge for his time while obtaining such data the 
same as if he were working on the order in the studio. 

When the buyer wishes several suggestions offered to show how 
a subject may be handled, the artist may submit a number of rough 
miniature sketches, which are sometimes designated as thumb-nail 
sketches, from which the buyer selects the idea to be worked out. 
A sketch or layout is then submitted for further consideration before 
proceeding to complete the drawing. 


PROOFS 


Upon the completion of an engraving it is customary for the 
engraver to make one finished proof and two file proofs of the plate. 
The finished proof is sent to the customer with the plate to show its 
printing possibilities under ideal conditions, as such proofs are usually 
made with inks of the highest quality and on paper of a very high 
grade by a skilled workman. One of the file proofs is usually attached 
to the bill for the plate and sent to the customer for identification 
purposes, while the second is retained in the files of the engraver. 


336 COMMERCIAL ENGRAVING AND PRINTING 


Three finished proofs, are usually furnished of halftone process color 
plates as well as one set of progressive proofs. 

No extra charge is made for the above mentioned proofs, but a 
special charge is made for proofs of line color and combination color 
plates as well as for extra proofs, the cost being based on workman’s 
time and the material required. The cost of extra proofs will be less 
if they are ordered with the original order or before any proofs are 
made, as in such case they can be made at the same time the custom- 
ary proofs are made, thus saving a special makeready, washup, etc. 

To one not familiar with the method of making engraver’s proofs 
the cost may appear excessive. However, when it is known that a 
skilled workman’s time is required for preparing makeready, for 
washing rollers and ink slabs and for mixing special inks, and that 
considerable waste is incident to obtaining perfect copies and cleaning 
of equipment after proofs have been made, it will be easily understood 
why such work is seemingly expensive. 

When requested, engravers will furnish proof of plates being made 
on any special stock and with any special ink if the stock and ink are 
furnished by the customer. However, unless such proofs are produced 
under actual printing conditions little will be gained, as when made 
otherwise, the ink used, its manner of application to the plates, the 
manner in which the impression is made, and other conditions, are not 
such as to give a fair demonstration of what may be expected of the 
plate under regular printing conditions. 

As an accommodation to customers to aid them in the preparation 
of their copy for the printer, it is sometimes a help to them to obtain 
flat or preliminary proofs of the plates in work before they are finished. 
Such proofs will not only serve for identification purposes but will 
show size and otherwise aid in the preparation of copy so that time 
may be saved in getting the copy in the hands of the printer after the 
plates have been finished. Such proofs may be made at almost any 
stage of the work after the plates have been flat etched. Photographic 
or silver prints are sometimes furnished from the negatives as soon 
as made instead of flat proofs in order to obtain size, shape or other 
information that will aid in the preparation of copy before receipt of 
the finished plate. An extra charge is made for such prints. 

While the engraver is often criticised for delivering to the cus- 
tomer proofs of a quality that his printer does not equal when printing 
from the same plates, yet plates that are printed by good workmen 
under proper conditions, on good stock with good ink, makeready, 
etc., often produce better results than those shown by the engraver’s 
proof. While comparatively few printing orders will warrant the use 
of materials of as good quality as those used by the engraver in making 
proofs, if these proofs did not demonstrate the best printing possi- 
bilities of the plate, unwarranted complaints would be frequent. 

The difference in results is due to the fact that the lines and dots in 
an engraver’s proof are usually sharp and clean, being made with the 
highest quality of materials and the ink rolled on until the plate has all 
it will carry. The same plate when used in printing is usually ink 
rolled but once and with ink not as stiff or as high in quality as that 


GENERAL PHoto-ENGRAVING INFORMATION Bt 


used by the engraver, thus when it is printed it has a tendency to 
spread, producing a center of gray, bordered with black, which gives 
the print a grayish, woolly effect and which also affects the proper 
reflection from the paper on which it is printed. The poorer the paper 
and ink used in printing, the more this is apparent. 

If the printed impressions from a new halftone are not so good as 
expected, all conditions under which the plate is being printed should 
be thoroughly investigated before placing the blame on the plate 
maker. The engraver should not be held responsible for poor work 
from plates which may be due to the buyer’s failure to give proper 
instructions regarding screen, to the curtailing of time for makeready 
in order to rush the work through, or to failure to remunerate the 
printer sufficiently to enable him to use proper materials and to give 
proper time to makeready. Unsuitable condition of temperature in 
pressroom, incompetent pressman, or other conditions for which the 
engraver is not responsible may interfere seriously with the successful 
use of the plate. 


CORRECTING, PATCHING AND ALTERATION OF PLATES 


Halftones and line etchings, old as well as new, are often cut down 
in size, altered or repaired to meet emergencies and special require- 
ments, or to correct errors. Just what may be done in the way of 
alterations and repairs depends to some extent on the skill of the 
workman who is to do the work. Little can be done for the improve- 
ment of a plate that is badly worn from continued use, but scratches 
and damage caused through press room accidents can often be repaired 
in a satisfactory way and in quicker time and at less expense than 
would be required for the making of a new plate. 

Line etchings are more easily repaired than halftones, as the broken 
lines may be soldered and trimmed. If such repairs weaken the 
rigidity of the plate an electrotype should be made of the repaired 
plate and that used for printing. 

In cutting down old plates by removing surplus or unessential 
background, the size of the detail in the part remaining is of course 
the same as in the original. The only method by which the size of the 
image may be changed is by making a new reproduction. 


THK WEARING QUALITIES OF PLATES 


The number of perfect impressions that may be printed from a 
halftone or line etching will depend upon a number of conditions. 
Presuming that the plate has been properly made and properly used, 
the medium screen halftone or line etching may be safely counted on 
to give one hundred thousand or more good impressions. Not more 
than ten to fifteen thousand impressions should be expected of half- 
tones of extremely fine screen, while coarse screen halftones or coarse 
line etchings may be expected to give from one hundred fifty to two 
hundred thousand impressions. The fineness of the screen of the 
halftone determines to some extent the life of the plate—the finer 
the screen the more shallow the plate, while the coarser the screen 


338 COMMERCIAL ENGRAVING AND PRINTING 


the deeper the plate may be etched and consequently the longer it 

will run. Some of the conditions which tend to shorten the usefulness 

of the printing plate, or to ruin it with comparatively little use, are 

defective presses, causing unusual wear, improper makeready, too much 

= impression, a heavy hard paper, paper with 

jj | eritty or dirty surface, the chemical action of 

— ink on the plate, frequent use of the plate for 

short runs requiring new makeready for each, 
accidents, etc. 


THE HALFTONEMETER 


This is an instrument for measuring the 
engraved depth of halftones, line etchings, 
electrotypes, nickeltypes, stereotypes, dies, 
etc., or thicknesses requiring delicacy and 
accuracy in measurement. Each marking on 
the dial indicates one-thousandth of an inch. 

. When the instrument is placed upon a smooth 

- level surface the indicator points to zero, and 

, when placed over an engraved surface the 

Ott ee, ee cee needle point between the feet is automatically 
rom slightly retouched photograph. ig 

Fig. 844. forced between the engraved lines, or dots, 

The Halftonemeter. and the hand on the dial indicates the depth 

in thousandths of an inch. 

Its use in connection with the standard scale of depths adopted 
by the American Photo-Engravers' Association will readily determine 
whether or not plates have been etched to proper depth for printing. 
The scale of depths for halftones is as follows: 


Noted in 7990 of an inch and fractions thereof 


55 Line | 85 Line |100 Line|100 Line|120 Line 133 Line|150 Line|175 Line 
Zine Zinc Zinc | Copper| Copper | Copper | Copper | Copper 


EEE, (Re TRenNNSEECe, |e eeeee ee) (OT (ee eee ee 


1.8 
1.0 


TONE VALUES 


High Lights... 
Middle Tones. . 
Shadows)... .1)- 


Line etching on zinc. Made from printed clipping. 


Fig. 845. Scale of depths for halftone etching. 


RUSH ORDERS 


The general complaint that engravers and printers are slow in 
executing orders is not caused by the time taken in actual work on 
the orders, but the delay, if any, is due to orders previously received 
the delivery of which must be made as promised or in regular routine. 

Any engraver will gladly accommodate a customer with special 
service on an occasional rush order, but, with the possible exception 
of newspaper work, there is hardly any necessity for every order being 
a rush order. No well organized establishment will unnecessarily delay 
the completion of an order longer than is absolutely necessary for its 


GENERAL PHoTo-ENGRAVING INFORMATION sah) 


proper execution. Reasonable demands on the part of customers and 
the careful fulfillment of promises on the part of the engraver will 
prevent disorganization and disappointment and tend toward improve- 
ment in quality of work, reduced cost and improved conditions. 

Owing to the uncertainty of the volume of work that any estab- 
lishment may be called on to handle from day to day, there are times 
when it is impossible to give immediate service to large orders even 
in the largest establishments. However, matters can usually be so 
arranged as to take care of small orders in quick time in emergency 
cases. Such service, however, calls for an extra charge on account of 
the special attention that must be given to the order and the inter- 
ference with other work going through on regular routine. 


THE RETURN OF COPY AND PLATES 


Copy sent to the engraver by mail or express 1s sent at the expense 
of the shipper. Plates are returned by the engraver by carrier giving 
best service at lowest cost and when sent prepaid the carrying charges 
are added to the bill for the work. 

It is customary for the engraver to return with the plates in good 
condition, ordinary wear and tear excepted, all copy sent to him by 
the buyer with the order for plates unless otherwise instructed, except 
that where the copy is being used frequently for plates, such copy is 
usually retained in the files of the engraver for use from time to time 
as necessary. All photographs of portraits and views as well as draw- 
ings on which no art work has been done by the engraver and copy 
that apparently will not be used again for engraving purposes are us- 
ually returned with the plates. 

Drawings and retouched photographs prepared by the engraver 
and from which plates are made, are usually retained in the files of the 
engraver for use for the customer from time to time unless other 
instructions are given. Many buyers, however, require that all copy 
be returned with plates as they have their own filing system for the 
care of such copy. It is always well to give instructions as to disposal 
of the copy. 

COST OF PHOTO-ENGRAVING 


Practically all photo-engraving is now sold on the basis of the 
Standard Scale of prices. This scale, a copy of which will be supplied 
by any photo-engraver on request, was originally adopted by the en- 
gravers after a most thorough and painstaking examination of produc- 
tion cost records in various engraving plants throughout the country, 
and it is revised from time to time as the cost of labor and material 
change. The scale price covers the cost of the regular operations as 
required for the production of square finish halftones and line etchings 
on zinc, since these two classes of work comprise the larger part of 
the photo-engravings produced. The cost of many of the most com- 
mon extra operations necessary in the production of plates and 
which are the most common modifications of square finish halftones 


Pages 337 to 352, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


340 COMMERCIAL ENGRAVING AND PRINTING 


and zinc etchings have also been definitely fixed in supplementary 
notes and prices forming a part of the scale. A great many of the 
special operations, however, must be charged for on the basis of work- 
man’s time and material required. 

The prices named on the scale for zinc etchings are based on making 
reproductions from black and white line drawings or prints, furnished 
by the customer, which can be reproduced without alterations to copy 
or plate. Those for halftones are for square finish plates that can be 
made from photographs, retouched copy, wash drawings, or other 
copy furnished which can be reproduced without alteration of copy 
or extra work on copy or plate. Prices are for plates nailed on wood 
blocks and no deduction is made if plates are delivered unmounted. 

An extra charge is made for line etchings from lithographed or 
steel plate copy, script, shorthand, penmanship, scientific, or other 
difficult copy, also for positive or reverse etching, as it is sometimes 
called, and deep etching. 

Line etchings, whether made on zinc or copper, are figured at face 
measure, but in estimating cost of halftones one-fourth of an inch is 
added to the width and height of the face of the plate. Line etchings 
are usually irregular in outline, so that spaces for nailing to the block 
are nearly always provided for within the dimensions of the face of 
the plate, while most halftones must be provided with a bevel or 
shoulder beyond the face of the plate for nailing to the block. 

All tint plates, line color or machine-shaded plates are billed at 
prices above the scale price because of the extra time required for 
handling. Laying the tints on plates and the painting in on color 
plates call for an extra charge, as does also all work on copy before its 
reproduction, such as retouching or cleaning up, grouping, drawing, 
inking in, tracing, re-writing, mounting, etc. 

Long narrow plates are figured as being one-fourth as wide as they 
are long. Such plates require the use of equipment and material as 
would be required for plates of larger area, hence the rule as to how 
area will be figured. 

Additions are made to scale prices for oval, circle, outline and 
vignetted halftones, also for hand-tooling, inside cutting out, re- 
etching, burnishing, extra negatives, stripping, double printing, for 
making halftones from oil paintings or direct from the object, for 
making process color plates from black and white copy or from auto- 
chromes, mortising and any other operation that requires more time 
than would be consumed in making an ordinary square finish halftone 
or zinc etching. An extra charge is also made for the use of a screen 
finer than 150 line. 

All color plates are regarded as being of the same size as the largest 
plate belonging to the set, and odd shaped plates of irregular outline 
are computed as covering the area of a rectangle sufficiently large to 
include the entire plate. 

An extra charge is made for mounting plates on metal bases for 
the use of anchors, or backing for patent bases. 


GENERAL PHOTO-ENGRAVING INFORMATION 341 


ESTIMATES 


It is unfair to both the engraver and the buyer for the latter to 
request an estimate on photo-engraving without submitting the copy 
and complete specifications when request for estimate is made. On 
work of the ordinary class with the aid of the scale one will be able 
to make his own estimate. For plates that will require special handling 
in any way a proper estimate can only be made after carefully going 
over the copy and specifications. There are often advantages to the 
buyer in permitting the engraver to examine the copy, as it is often 
possible to devise methods that will reduce the cost as well as to 
enable the engraver to properly estimate the cost of extras. It is 
unfair for one engraver to give an estimate on work after it has been 
completed by another. Only the one producing the work is familiar 
with all the conditions and circumstances it was necessary to meet in 
making the work, and it is impossible to determine from the proofs 
what the conditions might have been. | 


APPROPRIATIONS FOR ILLUSTRATIONS 


While it is seldom good policy to fix arbitrarily an amount to be 
expended for illustrating a certain piece of printed matter, yet it is 
possible to regulate the cost to meet almost any condition. The 
expense may be governed by the number and kind of illustrations used, 
the amount of retouching on photographs, the degree of expenditure 
for drawings, the size of the plates, the grouping of photographs and 
reproducing in fewer halftones, by adopting plain square finished 
halftones, etc. Sales literature, however, should always be properly 
and adequately illustrated, and expenditure for the work may usually 
be undertaken with the assurance that well made and well printed 
illustrations will prove an important factor in making the advertising 
matter a profitable investment. 


SANNA 


PROC ROMO GH CCCCRRHGHCCHRRBRERSGREGSRRE TERETE DHRTE PREC RE ROBES [LER UEM MR 


LICATE | 
LATES 


NGGUURRCRPRBCCCCC ROSES EER ORRES 


*Fig. 850. 


DUPLICATE plate, correctly speaking, is made by the same 
process as the original of which it is a copy, but is more often 
made by one of the processes of electrotyping, nickeltyping or 

stereotyping. 

The need for duplicate plates may be to preserve the original; to 
repeat the same subject on different pages or in different parts of a 
piece of printed matter; to supply a customer who may wish to use 
the same subject; for use in newspapers, periodicals, or other publica- 
tions in which the same subject is to appear in several simultaneously, 
or to facilitate and shorten the number of press impressions. 

It is common practice to print from the original engraving when 
only comparatively short runs are required, or when the subject is 
likely to be used only one time, and this may usually be done without 
perceptible wear or damage to the plate. 

If, however, the subject is one that will be used often, it is an 
economy in the end to preserve the original and make electrotypes 
from it from time to time from which to print. It is better, however, 
to use the original and replace it, when it becomes worn or damaged, 
with a new original, than to attempt to print from a poor electrotype. 
It is also an advantage to have on file the original in case it is a subject 
that is being used frequently, for emergency use in case of accident to 
the duplicate while being used. This will save press time, the cost of 
which usually would more than replace the orginal plate, if copy from 
which to make it is available. 

When the original plate is to be used only for electrotyping pur- 
poses, it should never be used on the press, as whatever wear might 
be incurred would be reproduced to the same extent in each of the 
electrotypes made from it afterwards. 

In producing a large quantity of any piece of printed matter a con- 
siderable saving in time and expense is often effected by duplicating 
the form by electrotyping, making as many electrotypes as are neces- 
sary to print the job most economically, or as are sufficient to print 
one side of a full stock size sheet, which often is of the largest size the 
press in use will accommodate. For illustration, an order for 100,000 
blotters printed in one color would require 100,000 press impressions 
if printed one at a time, but by making eleven electrotypes of the form 
and printing from the eleven duplicates with the original, twelve copies 


*Line etching on zinc. Made from a pen drawing. 


DUPLICATE PLATES 343 


are printed at each impression, thus reducing the total press impres- 
sions to 8333. 

It is of course not practical to duplicate the form where the number 
of copies being printed is comparatively small, as the cost of electro- 
types and extra expense for makeup and makeready would more than 
offset the saving in press work. 

Type in continuous use soon becomes worn and imperfect, especially 
when used in printing on stocks having a hard rough surface, hence 
electrotypes are often made of type forms to be used for printing so 
that the type may be preserved and kept in good condition for further 
use. There is little injury to type in making electrotypes. Many 
printers seldom use foundry type on their presses, but electrotype all 
forms that are set in display type, and print body or straight matter 
from machine set slugs or type, which affords practically new type for 
every job, thus enabling them to produce a higher grade of work than 
would be possible if worn type were used. 

The use of electrotypes of type matter also affords greater efficiency 
in handling forms, as good electrotypes save time in lockup, make- 
ready and running time. There can be no trouble through quads, spaces, 
leads or other material working up, or coming loose to mar the printed 
sheets. Thus quality is improved and production time is shortened: 
and if the plates are in good condition and are preserved, there will be 
no expense for composition in case of a subsequent run or duplication 
of the order. 

The page forms for books, magazines and other publications that 
are to be printed in large editions, or when subsequent editions are 
contemplated, are most always electrotyped. And often more than one 
set of plates is made of the forms, that the work may be expedited by 
being run on more than one press at the same time, or, in the event of 
very long runs, that the plates as they become worn may be replaced 
by new ones. 


USES TO WHICH DUPLICATES ARE SUITED 


The kind of duplicate best adapted to a certain purpose will depend 
upon the nature of the original and the purpose for which the duplicate 
is to be used. 

Fine screen halftones—as used on fine coated papers for booklet, 
catalog and magazine work—if not duplicated by the halftone process 
are usually best duplicated in lead moulded electrotypes if for printing 
in one color, lead moulded nickeltypes if for process color plates, or 
lead moulded hard nickel faced plates if to be subjected to long or hard 
usage. 

eines of medium screen—as used for advertising matter, maga- 
zines, trade journals, etc., printed on medium grades of paper—line 
etchings, wood engravings and type forms, may be satisfactorily dupli- 
cated by the wax moulding method of electrotyping for plates to be 
used for short or medium length runs, or by wax moulded, hard nickel 
faced plates for long runs. 

Coarse screen halftones, coarse line etchings and wood engravings, 
and type matter set in the larger and heavier faces are satisfactorily 


344 COMMERCIAL ENGRAVING AND PRINTING 


duplicated by electrotyping by the wax moulding method when plates 
are to be used on medium or low grades of paper, although for eco- 
nomical reasons they are often duplicated by stereotyping when high 
class results in printing are not essential. 

When the subject is a fine screen or vignetted halftone, better 
printing results will most always be obtained if a duplicate original 
halftone is used, as for clean sharp results nothing surpasses the half- 
tone and almost always in the process of reproduction by any other 
method of duplication some of the detail and fine printing qualities 
will be affected. As a duplicate is made in exactly the same manner 
and usually from the same negative as the original, it will of course 
produce results fully as good as the original. There may, however, be 
a possibility of slight variance in color because of the impossibility of 
etching two plates exactly the same. When such a subject is electro- 
typed it should be made by the lead mould process to insure the best 
class of work. 

Most of the better printed magazines of large circulation require 
advertisers to send them original halftones for use in their publications, 
not necessarily to print from, but that they make their own electro- 
types. The printing qualities of the best made lead moulded electro- 
types may be equal to that of the original halftones and such electro- 
types may surpass the originals in wearing qualities, yet originals 
are required on account of the stippling and re-engraving that is often 
necessary to put the plate in a printing condition to conform to their 
standards. When an original is supplied it is necessary to tool and 
stipple only the one plate from which the required number of electro- 
types may be made, in case the forms are duplicated, and it is not nec- 
essary to electrotype from an electrotype. Further, while it is possible 
to tool and stipple copper-faced electrotypes which have a very thick 
shell, it is almost impossible to do such work on a nickeltype, because 
of the hard surface. 

While a duplicate original halftone or line etching may be ordered 
at any time if original copy is sent to the engraver with the order, 
most establishments make a slight concession in price on the duplicate 
if it is ordered at the same time as the original, since the same negative 
may be used for the original and duplicate, although all other opera- 
tions must be repeated in making the duplicate that are used in making 
the original. 

Well made electrotypes from some classes of originals such as line 
etchings, wood engravings, medium and coarse screen halftones, and 
type matter, will, if properly handled in printing, produce just as good 
work as may be obtained from the originals. 

Good electrotypes can not be made by either the wax or lead mould 
process from halftones or line etchings that have been undercut in the 
etching. Nor can good stereotypes be made from such originals. The 
mould from such a plate would naturally be torn more or less in re- 
moving the original from it, thus making it impossible to obtain a clean 
sharp plate from the mould. For the same reason plates that are to be 
electrotyped should not be burnished. 

The number of impressions that may be expected from electrotypes 


DUPLICATE PLATES 345 


depends upon the fineness or coarseness of the lines in the subject, the 
kind of paper on which they are being printed, the conditions of the 
press on which they are being used, the expertness of the pressman and 
the quality of the electrotype. Good electrotype plates have been 
known to give satisfactory service up to several hundred thousand 
impressions, while others have been rendered worthless after only a 
few hundred impressions, or damaged by only a few impressions 
through improper handling. 


PREPARATION FOR ELECTROTYPING 


All type forms or type-high plates are, preparatory to electrotyping 
by the wax moulding method, locked in a special heavy chase, the form 
or plate being surrounded at a distance of about one pica from the outer 


Outline-vignette halftones, 150 line. Made from slightly retouched photographs. 


Fig. 851. Type form with bearers Fig. 852. Unmounted halftone with 
locked in chase for electro- blank, or dead metal left for 
typing. electrotyping. 


edge of the printing form with type-high bearers, which are thick bars 
of lead set on edge around the form. They act as a support for the 
form when it is placed on the wax case, prevent it from slipping, con- 
fine the wax within and insure an even mould. 

Better electrotypes will be obtained from fine screen halftones and 
large plates of any kind, if sent to the electrotyper unmounted, or 
mounted on solid metal bases. Wooden bases yield to some extent 
under pressure, thus giving the moulded impression a tendency to be 
shallow. The dead metal should be left around the outside of the 
subject and in the blank spaces of the originals for the same reasons 
that bearers are placed around type forms. And in case of borders or 
other open work this dead metal serves to hold all parts in correct 
position while the mould is being made, thus avoiding any possibility 
of plates being out of square, out of register, etc. 

All plates to be duplicated by lead moulding must be unmounted 
and of a solid metal of hard composition, such as copper, brass, etc. 


Pages 337 to 352, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


346 COMMERCIAL ENGRAVING AND PRINTING 


The ordinary metal base would spread slightly with each mould taken 
from it, thus not only making the original unfit for use, but also pro- 
ducing unsatisfactory moulds. 

Good electrotypes not only depend on careful attention to the many 
details in connection with the making of them, but also to the prepara- 
tion of the plates or forms that are to be electrotyped. All parts of a 
surface that is to be electrotyped must be of uniform height to insure 
a satisfactory printing plate. Thus, if a type form is imperfect in 
justification, or contains high or low plates, dirty, worn or broken 
letters or characters, or other features that would not print well in 
printing direct from the form, these defects will of course appear in 
the electrotype and in turn in the printed impression from it. Some 
defects may be remedied to some extent in finishing the electrotype 
or in the makeready on the press before printing, but such corrections 
are expensive. The more practical way is to eliminate them from the 
form before sending to the electrotyper, when the alterations may be 
made with the least difficulty and expense. 


KINDS OF ELECTROTYPES 


Wax moulding is the oldest and most commonly used process of 
making electrotypes of all type forms, wood engravings, line etchings, 
medium and coarse screen halftones, while for duplicating the better 
class of fine screen halftone plates for printing in one or more colors 
the lead moulding process is most used. 

Often misunderstandings arise in ordering duplicate plates because 
of incorrect specifications given when the order is placed. These may 
be avoided by exercising more care in writing the order. When several 
plates of the same size from the same subject are wanted, the order is 
sometimes given for halftones when it is meant to be for one halftone 
and a certain number of electrotypes additional; or it may be given 
for an original and a certain number of duplicates when it is intended 
to be for one original and a certain number of electrotypes, nickeltypes, 
or some other kind of duplicate plates. 

Many persons erroneously speak of any kind of a printing plate as 
an electrotype. This is no doubt due to the fact that before the advent 
of photo-engraving, printing plates in relief were practically all wood 
engravings from which electrotypes were made. As there are now 
many kinds of relief plates for printing, each should be designated by 
its proper name, specifying electrotype, nickeltype, stereotype, etc., 
as wanted. 

THE WAX MOULDING PROCESS 


The first step in the making of a wax mould electrotype is the 
making of the case. The case is a thin flat metal plate about 15 x 20 
inches in size—depending on the size of the filling table used—to one 
side of which is given a coating of wax about % inch thick. The wax 
used is a composition of ozokerite, beeswax or other high melting, non- 
adhesive material which will retain every line and detail of the subject 
that is moulded in it. The case filling table has a metal top which 
may be heated by a steam chamber immediately underneath, and the 
same chamber may also be used for cooling. The empty cases are 


DUPLICATE PLATES 347 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 


Fig. 853. Filling the cases on the case filling and cooling table with strained 
molten wax. Steam heated wax kettles and wax in the 
original form at left. 


spread over the top of the table, the unit of size of the cases being 
such that a certain number of them will completely cover the surface, 
after which the group of cases is surrounded by steel bearers of a 
thickness representing the combined thickness of the case and the 
covering of wax to be applied. 

The wax composition having been melted in a kettle, is now poured 
through a strainer over the metal cases to fill the pan-like top, the 
outer rim of which has been formed by the bearers. The wax is then 
allowed to cool, this being facilitated by shutting the steam off and 
turning cold water into the chest under the top. 

After the wax has hardened, it is separated into cases or sections 
corresponding in size to the metal slabs underneath by cutting with 
a thin knife blade, the knife following the outlines of the metal plates 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 


Fig. 854. Separating and beveling the wax cases. 


348 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftones, 150 line. Made from retouched photographs. 


Fig. 855. Shaving the wax case (left) and a 
wax shaving machine (right). 


in cutting. The edges of the wax on the cases are now trimmed off and 
beveled and a uniform thickness with an even smooth surface is ob- 
tained for the cases by running them through a wax shaving machine. 
The prepared cases are now placed in a warming cabinet, where they 
are kept at a proper temperature until they are to be used. 

The case, as well as the form or engraving to be electrotyped, is 
carefully and thoroughly brushed over with finely powdered graphite, 
to prevent the wax from sticking to the form. The case is then placed 
on the sliding form plate on the bed of the moulding press, and the 
form to be electrotyped is placed face down on the wax. The sliding 
plate automatically carries the work under the platen where the mould 
on the wax is made by applying pressure, producing on the surface of 
the wax an impression of the form. 

Moulding presses are made in different sizes and will accommodate 
forms ranging from a single line of type matter up to their full capacity, 
which varies from approximately 18 x 24 to 30 x 36 inches. The size 
of the press of course limits the size of the plate that can be handled 


Outline-vignette halftones, 150 line. Made from retouched photographs. 


Fig. 856. The type form on case on Fig. 857. Making the mould on the 
the sliding form plate. wax under the platen. 


DUPLICATE PLATES 349 


at one operation without patching, although some of the presses are 
equipped with a patented stepping arrangement by which large electro- 
types of unlimited length can be produced by shifting the work under 
the platen and making the impression step by step. 

Several forms may be moulded on the same case and when the work 
is at hand the entire surface of the case is usually utilized, it being both 
in the line of efficiency and economy to obtain as many moulds on the 
case as can be accommodated. 

The materials used in the making of the composition for the cases, 
the making of the cases and the making of the moulds are very impor- 


Outline-vignette halftones, 150 line. Made from retouched photographs. 


Fig. 858. Power wax moulding press. Fig. 859. 2000-Ton hydraulic lead 
moulding press. 


tant steps in the process of electrotyping, as any imperfections in this 
part of the work will prevent perfect work in the operations that are 
to follow. 

Moulding presses are built to be operated by hand, steam, electrical 
or hydraulic power, and installations in different shops depend on the 
equipment demanded by the nature of the work produced. They are 
usually equipped with a device for indicating the amount of pressure 
and the depth of the impression; some having automatic stops which 
operate when the impression reaches a predetermined depth. 


BUILDING UP THE CASE 


After the case has been moulded, the surplus wax which has been 
crowded to the surface and edges during the moulding operation is cut 
away with a thin warm knife or by the aid of a wax cutting down 
machine and the sharp edges are melted down with a gas flame passed 
rapidly over the mould. After this the blank spaces in the form, 
those in which there are no printing characters, and which will be the 


350 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftones, 150 line. Made from slightly retouched photographs. 


Fig. 860. The impression as made Fig. 862. Building up on the case the 
on the wax case. blank spaces in the form. 


low places in the printing plate, but which are the high parts of the 
mould, are built up higher by dropping molten wax on them from a 
building iron which resembles a soldering iron as used by a tinner. 
These raised surfaces produce a corresponding depression in the fin- 
ished plate, thus preventing the possibility of smutting by contact 
with the paper on which the plate is printed, and making it unnecessary 
to rout them down in finishing the plate. 


Outline-vignette halftone, 150 line. The complete machine was made from a black on white print from halftone 
and the “close-up” from a slightly retouched photograph. The two halftone negatives were stripped together. 


Fig. 863. Wet leading machine. 


DUPLICATE PLATES 351 


The mould is then given a coat of black lead by what is known as 
the wet leading process. The lead is in liquid form and is applied to 
the mould by a rotary pump through a flexible nozzle or through the 
use of a special wet leading machine. It is asserted that there is less 
liability of damage to the mould by using the wet process than when 
the dry method is used, since no brushes are used with the wet method. 
A force pump is used to wash out and remove the loose black lead so 
that only the thinnest coating of it may remain on the wax case. 

In some establishments the dry black leading process is used in- 
stead of the wet method. By this process the mould is given a coating 
of dry black lead by brushing it on to the mould by hand or machine, 
the surplus lead being brushed off or blown off by compressed air. 

The black lead, whether applied by the wet or dry method, acts as 
a conductor through which the copper or nickel is deposited upon the 
mould, thus forming the shell while in the plating bath. 

To facilitate further the deposit of metal on the mould, a small cop- 
per wire is imbedded in the composition al! around the outer edge of the 
moulded surface, and to prevent the deposit of copper on that part of 
the case outside the mould the graphite conducting coating is destroyed 
by passing a hot iron over the composition around the outside of the 
moulded surface. 

DEPOSITING THE SHELL 


After black leading, the mould is suspended from one edge by a 
hook, in a tank containing an acidulated solution of copper sulphate 


Outline-vignette halftone, 150 line. Made from slightly retouched photographs. Halftone negative of the anodes 
was stripped with that of the tank, etc. 


Fig. 864. Depositing the copper shell on the wax case. Above, copper 
anodes (with hooks) before and after disintegration. 


352 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftones, 150 line. Made from slightly retouched photographs. 


Fig. 865. The shell after removal Fig. 867. Scrubbing the cast. 
from the wax. 


to the positive pole is a plate or bar of copper. The mould is known as 
a cathode; the copper plate as an anode. The anode is suspended in 
the tank just in front of the mould and if several moulds are receiving 
the deposit in the tank at one time, a mould is placed on each side of 
and facing each anode. 

The electric current from a special dynamo for depositing enters 
the liquid through the positive pole or anode, gradually decomposing 
the anode into the solution and depositing the free copper on the wax 
mould in a thin unbroken sheet. The dissolution of the anode is of 
course a slow process, a total of many hours being necessary for its en- 
tire disintegration, thus permitting its use for a large number of changes 
of moulds before the remnant is finally discarded. 

The solution in the tank is agitated to quicken and improve the proc- 
ess of depositing the copper or nickel, this usually being done through 
a steady pressure of air from a pressure blower. 

The depositing tanks are usually made of cypress, lead lined, and 
are about 30 inches wide by 30 inches deep, varying in length, de- 
pending upon the capacity of the shop in which they are used. 

When the copper shell has become of the proper thickness on the 
mould, it is removed from the electrolytic bath and the new metal 
shell is separated from the wax mould by pouring boiling water on 
it to soften the wax. The face of the shell is an exact duplicate in every 
detail of the form from which the mould was made, and, as it was made 
by building from the face backward by depositing in the mould, the 
impression of the plate is as sharp in detail as the original form or 
plate from which the mould was made, if the moulding and depositing 
operations have been properly done. 


DupiicatEe PLATES apt 


wl 


Outline-vignette halftone. Made fiom a slightly retouched photograph. 


Fig. 868. Backing up the shell. 


The shell as taken from the mould is not strong enough for printing 
purposes and must be strengthened by backing before it can be used 
for printing. Before backing, however, it is thoroughly scrubbed 
with hot water to remove all foreign substances from both face and 
back. It is then placed face down in a backing pan, which is made of 
cast iron and a little larger than a case. The bottom of the backing 
pan is perfectly smooth and the depth corresponds to the thickness of 
the backing that is to be cast. 


Outline-vignette halftones 150 line. Made from retouched photographs. 
Fig. 869. ‘‘Roughing’’ the back of the cast. 
Fig. 870. A roughing machine. Fig. 871. A hand shaving machine. 


and COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftones, 150 line. Made from retouched photographs. 


Fig. 872. Routing the electrotype ona Fig. 873. A combination router for 
combination straight line router. either flat or curved plates. 


A soldering solution is applied to the back of the shell, then a sheet 
of tin foil is spread over the back, after which the pan is suspended 
over a gas flame or in a melting furnace to fuse the foil to the back 
of the shell, to effect a permanent union of the shell and backing 
metal, following which the molten metal is poured on to back the shell 
to the thickness desired. 

The cooling of the backed plate is usually aided by the use of a 
blower with which a cold blast of air is delivered underneath the pan. 
This not only quickens the process of cooling, but causes the molten 
metal to shrink on the back of the cast as it cools, thereby saving time 
and effort in the process of finishing and shaping the plates. 

After backing, the face of the plate is again thoroughly cleaned by 
scrubbing, after which it is placed face down on the bed of a roughing 
machine and the back is planed down until the plate is a little more 
than the required thickness, then the back is shaved off smoothly 
with a shaving machine and the plate is by the same operation brought 
to the required thickness. 

While plates may be made of any thickness, the usual thickness 


. Z s en Se 
Outline-vignette halftones, 150 line. Made from slightly retouched photographs. 


Fig. 874. Sawing the cast into parts. Fig. 875. Flattening the plate. 


Outline-vignette halftones, 150 line. Made from slightly retouched photographs. 


Fig. 876. Machine for nailing Fig. 877. Trimming and squaring 
plates to blocks. the mounted plate. 


in which plates are finished is 16-gauge (.067 in.) if plates are to be 
nailed on the same blocks with halftones or line etchings; 9 points 
(.125 in.) if to be mounted on wood; 11 points (.152 in.) for use on 
patent bases; 14 in. to 3 in. if to be used for binder’s stamp or .g18 
in. if type high. 

Before the backed plate has been planed to proper thickness, it is 
flattened and any low places in the printing surface are brought to 
the proper height by driving up from the back, as are also low letters 
and lines. Open joints in rules, when not eliminated by special work 
on the mould, are filled with solder and finished, and other imperfec- 
tions are corrected in order that the plate may be in such a condition 
as to require the least possible amount of work for makeready on the 
part of the pressman who is to use it. Certain parts of the work, such 
as flattening the plate, bringing up low sections and other special work, 
are done with the aid of special machinery when the volume of work 
watrants its installation. 

Plates backed to type height on solid metal and requiring finishing, 
must of course be finished after being thinly backed, and then backed 
to proper height. 

Alterations are made by punching, sawing or drilling out char- 
acters or incorrect parts and inserting the correction by soldering. 
Letters or words are often corrected by soldering in original type, 
thus making it unnecessary to wait on electrotyping for a patch or 
until a new plate is put through. 

It is usually not practical to attempt to outline and rout away 
background, cut down or tool the face of an ordinary electrotype 
because of the danger of tearing the shell and causing particles of it 
to peel off, thus making rough and ragged edges. Large open spaces 
on the printing surface must be routed, unless they are of sufficient 
depth to prevent the sheets from smutting while being printed. Plates 
to be curved are not routed until after they are curved. 

After planing, the surplus metal from the outer edges is trimmed 
off with a saw and the plate is finished and mounted as necessary, the 
same type of machines being used for routing, trimming and making 


Pages 353 to 368, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


356 COMMERCIAL ENGRAVING AND PRINTING 


wood blocks type high as are used in finishing and mounting line etch- 
ings and halftones. If the case or plate contains several different 
plates it is sawed into parts and each trimmed and finished as the 
nature of the order may require. 

From one to eight hours are required to deposit the shell of copper 
on the wax mould, depending upon the thickness of the shell needed 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 


Fig. 878. The finished electrotype mounted on wood ready for use. 


and the condition of the plating solution and equipment. The require- 
ments of time for the deposit as well as time necessary for usual 
routine of case making, moulding and finishing should be taken into 
consideration when estimating the time required for the completion 
of an order of electrotyping. 

Considering the various operations in the making of a wax mould 
electrotype or nickeltype, such as the heating and cooling of the wax 
mould, etc., it is apparent that even with unusual care in making color 
plates and others requiring a close register or exact size there is danger 
of imperfect plates in these respects. There is, however, less danger 
if all plates in the set are made at one time, so that uniform working 
conditions may obtain. There is also less chance of difficulty in these 
respects with lead mould plates than with wax mould plates. 


CURVED PLATES 


When curved plates are made to be used in printing on rotary 
presses, the usual method is to cast the plates flat, plane them to 
the required thickness and then curve them to the arc of the printing 
cylinder. As it is impracticable to curve halftones and line etchings, 
such originals are seldom curved, but curved electrotypes from them 
are used instead. 

When ordering a curved plate, instructions must be given as to 
which way the plate is to be curved—whether from top to bottom or 
from left to right. 

The most serious disadvantage encountered in rotary press printing 
is the stretch of the curved plate which it is necessary to use, and 
particularly so with close register color work, label or other printing 
in connection with which die cutting is necessary. The ordinary 
method of curving plates stretches the plate about .o14 of an inch to 
the inch based on a plate 33;-inch in thickness for a 12-inch printing 


DupLICcATE PLATES 357 


plate cylinder. If the printing cylinder be smaller in diameter, the 
stretch is proportionately greater, and if larger, slightly less. Addi- 
tional difficulties are encountered when curving sets of color plates 
having printing surfaces that are not identical. For example, one of 
these plates may be a solid flat halftone; one of the other colors may 
be an outline plate, and another color may print only in spots in the 
subject, such as a machine shaded tint plate. Plates of this character 
would differ in stretch and, therefore, would be difficult to register. 
Likewise, when one plate is made up of a group or a series of smaller 
plates such as labels, etc., with routed out portions or gutters, or a 
plate with separated panels such as is used in folding box work, etc. 
It is very common that the curvature of plates of this character is not 
uniform, causing the abrupt edges of the design to punch and show 
excess impression before the true curve or contact takes place. 


THE CLAYBOURN NON-STRETCH CURVED PLATE PROCESS 


It is claimed that these troubles may be avoided by the use of the 
Claybourn curving and forming machine which is illustrated in Fig. 
882B. The electrotype, which up to this point has been made in the 
usual way and shaved to the proper thickness, is placed face down on 
a flexible steel blanket which is in contact with an electrically heated 
flat, solid platen as in view ‘‘A.”’ Each end of the blanket is fastened 
to water cooled half cylinders positioned at each end of the platen 
with their curved sides facing one another. Pressure fingers are 
brought to bear across the back of the plate to give it uniform contact 
with the hot platen and insure even distribution of heat. When the 
plate has been heated to a temperature bordering on a molten state, 
these half cylinders to which the ends of the flexible steel blanket 


Fig. 879. Hand driven plate 
curving machine. 


Outline-vignette halftones, 150 line. Made from slightly retouched photographs. 


Fig. 880. Plate curved for use on Fig. 881. Motor driven plate 
the Multigraph. curving machine. 


358 COMMERCIAL ENGRAVING AND PRINTING 


Printed from a lead mould nickeltype made from a square halftone with thin line black border, 133 line. Photo- 
graphs of retouched photographs of the different machines were trimmed and placed on a white mount the surface of 
which had been treated with an air brush. The border lines were drawn on the photographs and mount and from this 
combined copy the halftone was made. The white lines were cut in the plate with a tool. 


Fig. 882B. Equipment for curving and correcting plates 
by the Claybourn process. 


sustaining the plate are attached, are brought together at the center 
of the platen, at which point their flat sides meet and automatically 
lock together, forming a complete cylinder as shown in view “B.”’ 
Next follows a series of reciprocating rolling movements of the cylinder 
across the platen, after which the plate is allowed to cool for a few 
moments, when it is removed. 

The plate is now placed on the shaving machine, as shown in view 
“C,” for shaving the inside of the arch. This is followed by a special 
system of plate treatment, to eliminate makeready, which is described 
under Letterpress Printing, and involves the use of a special proofing 
press as shown in view “D.”’ 

After the plate has been corrected, if a different curvature is desired, 
it is re-curved on a special re-forming machine to any desired arc or 
curvature. In principle this machine is quite similar to the bending 
machine, the plate being placed between two flexible steel blankets 
and placed over a heated segment, as shown in view “‘E,”’ of the same 
size as the cylinder on which the plate was first curved on the bending 
machine. When the plate has been reduced to a fusing state by the 
heat, this segment is mechanically withdrawn, and the larger or smaller, 
as the case may be, water cooled segment, as in view “‘F,”’ is introduced 
under these steel blankets between which the plate rests. The plate 
formed to this water cooled segment is identical in size to the cylinder 
it is to be used on. After cooling a few moments, the plate is released 
and it is then ready to go to press. 


DUPLICATE PLATES 359 


Fig. 883 is a square-vignette halftone, 150 line, and was made from a photograph. Fig. 884 was printed from an 
electrotype made from the halftone used for Fig. 883. Fig. 885 was printed from an electrotype made from the electro- 
type used for Fig. 884. Fig. 886 was printed from an electrotype made from the electrotype used for Fig. 885. 


Fig. 883. Fig. 884. Fig. 885. Fig. 886. 


Showing results obtained when an electrotype is 
made from an electrotype. 


Regardless of the size of the printing cylinders on which the plates 
are to be used, all plates are originally curved on a curving machine 
of one size and proved on the same special proofing press which is 
shown in view ‘“‘D.”’ The plates are also corrected and made ready for 
printing in the original curved state. 

Other advantages claimed for this process in addition to the non- 
stretch feature of the plate, is the saving in time of makeready, the 
advantage of being able to run a part of the job on presses of the flat 
bed type from flat plates, and the remaining colors on a rotary press 
with assurance of perfect register; also that the plates will wear longer 
than those printed with other methods of makeready. 


COMBINING ORIGINALS AND ELECTROTYPES 


Often it is found advisable to print from an original halftone and 
from an electrotype of type or other matter, mounting the combina- 
tion together. Original halftones and line etchings are usually made 
on thinner metal than unmounted electrotype thickness, and that 
they may be mounted together on the same base so as to obtain 
uniform height of printing surfaces, the original may be backed to 
the thickness of electrotype plate by sweating on additional metal, 
then tacking it in or mounting it with the electrotype plate. Where 
there is not sufficient room for tacking one of the plates it may be 
secured to the other by soldering. 

While the electrotype in such a combination might be planed down 
to the thickness of the halftone, or etching, it is not usually practical 
because of the difficulty in planing down small plates; also the conse- 
quent weakened condition of the electrotype would prevent substantial 
nailing. 

PRACTICES AND RESULTS 

After the shell has been removed, the wax used for the mould and 
the shavings and trimmings removed in finishing the case are melted, 
clarified and used again; also the backing metal which has been re- 


360 COMMERCIAL ENGRAVING AND PRINTING 


moved as surplus when planing the plate, sawing and trimming, is 
melted and freed from the foreign material and used again. The 
residue from old electrotypes and old type, too, is utilized in this way. 

It is necessary that the original from which the electrotypes are 
to be made either be retained in the file of the electrotyper or sent 
to him with each order, for it will be noticed that in removing the 
shell from the wax mould, each mould is destroyed, leaving nothing 
from which to produce additional electrotypes. 

In making the better class of electrotypes, and always when the 
number of electrotypes being made is small, a mould is made from the 
original for each electrotype made, but when a large number is being 
produced of the same subject, often several electrotypes are made off 
the original and these, together with the original, are made up into a 
form and the entire form is moulded. Thus several imprints of the 
subject are produced on each plate and these are cut apart and finished 
separately. 

An electrotype may be made from an electrotype with fairly 
satisfactory results if the lines or detail of the subject are not too fine. 
As a rule, however, it is best never to electrotype from an electrotype 
made of a halftone, especially if it is a mediurn or fine screen plate. 
Naturally something will be lost with each duplication and the farther 
from the original the more unsatisfactory the printing results. 

Trouble is sometimes experienced with electrotypes used in con- 
nection with an ink containing a mercurial pigment, such as red, brown 
or vermillion. The surface of the plate is not only affected but the 
clearness of the color (especially tints) is also impaired. This difficulty 
may be overcome by nickelplating the electrotype, if it is a subject in 
which sharp detail is not essential, or by making nickeltypes. 


LEAD MOULDING PROCESS 


This method of making duplicates is considered superior to the wax 
moulding process of electrotyping for fine screen halftones, process 
color plates, or for any class of work in which accuracy in size, close 
register, or clearness of detail and depth of the original is to be dupli- 
cated in full. Many users of process color plates never print from the 
originals, but use lead moulded nickeltypes made from them instead. 

As lead is regarded as the most perfect conductor of electricity that 
can be used for moulding, the mould in lead is therefore ready for the 
depositing tank as soon as it leaves the original. Nickel and copper 
deposits on a lead mould with perfect uniformity of thickness and 
smoothness of surface as well as hardness, and also more quickly than 
it does on a wax mould. It is also asserted that lead takes a perfect 
mould and retains it without shrinkage or expansion or other de- 
terioration after it is separated from the original. 

By this process the impression or mould is made from the original 
on a cold sheet of special lead about 1/16 of an inch in thickness. The 
mould is made under enormous pressure in a hydraulic press, the pres- 
sure depending upon the size and nature of the plate being moulded. 
Sometimes as much as 2,000 tons of pressure is applied. The mould 


DUPLICATE PLATES 361 


Outline-vignette halftones, 150 line. Made from slightly retouched photographs. 


Fig. 887. Placing the sheet of lead over Fig. 888. The impression made in 
the halftone for a lead mould. the sheet of lead. 


in lead, which is not affected by varying temperature, undergoes no 
other operation until it is placed in the solution for a deposit of 
copper or nickel. After the shell has been deposited on the mould, 
the mould is stripped from it and the shell is backed, finished and 
mounted in the same manner as described for wax mould electrotypes. 

There is no particular advantage in making lead moulded electro- 
types from type matter, but if it is necessary to electrotype type by 
this method, it is advisable first to make a thick shell electrotype by 
the wax mould method, backing it up with hard metal, and then use 
this electrotype for moulding on lead, as to mould from the type would 
be injurious to the type. Lead moulds can not be made successfully 
from wood engravings, zinc halftones, ordinary electrotypes or stereo- 


types. 
Type matter that is to be electrotyped and mounted on the same 


Outline-vignette halftones, 150 line. Made from slightly retouched photographs. A nickel anode is shown outside 
the corner of tank. 
Fig. 889. Depositing a nickel shell ona Fig. 890. Removing the moulded sheet 
mould in lead. Copper shells may also of lead from the shell. 
be deposited on lead moulds. 


362 COMMERCIAL ENGRAVING AND PRINTING 


base with lead mould electrotype of illustration is usually electrotyped 
by the wax mould method and then mounted with a lead mould electro- 
type of the illustration. 

NICKELTYPES 


Nickeltypes are made in the same manner as electrotypes, and by 
either the wax or lead moulding process, with the exception that nickel 
is used as the first deposit in the mould instead of copper, and then the 
shell while still in the mould is given a deposit of copper. It is asserted 
that nickeltypes give a somewhat sharper definition to the detail of 
the printing surface, that they wear better than copper, and’ that they 
are not affected by inks containing mercurial pigment. A nickel-plated 
electrotype is not a nickeltype. In fact, for detail it is not as good as 
an electrotype, because when the nickel is deposited on the printing 
surface of the electrotype there must be some loss to the sharpness 
of the printing qualities of the plate and such a deposit would have a 
tendency to decrease depth. 

Nickeltypes may also be made by depositing the entire shell with 
nickel. 

A separate depositing tank and outfit is required for nickeltyping, 
although the same dynamo and mould equipment may be used for 
making nickeltypes that is used in making electrotypes. 


STEELTYPES 


The process of making steeltypes, or steel-face plates, is the same 
as in making wax or lead moulded electrotypes except for the dif- 
ference in the deposit in the mould, which is a hard nickel. —The name 
is indicative of hard-faced nickeltypes and is a trade name adopted 
by some foundries, but literally incorrect, since steel can not be so de- 
posited. Such plates have a clean, hard, non-corrosive printing surface, 
and in printing from them inks will hold their true colors. Their chief 
advantage is that they will stand considerably more wear than ordi- 
nary electrotypes or nickeltypes. 


ALUMINOTYPES 


An aluminotype is a duplication in aluminum of type matter or 
printing plates. The mould is made in plaster of paris in which the cast 
is made using a hard alloy of aluminum. The plate is cast in the re- 
quired thickness and as the metal is light and no lead backing is re- 
quired, it is much lighter than an electrotype or nickeltype and is also 
harder. It is not affected by chemicals in colored inks, and because 
of its special depth and lightness it is favored for trade illustrations, 
advertising plates, and for printing plates which require long, hard 
runs. They may be made either curved or flat and in any thickness 
and can be used for reproducing type matter, line and halftone plates 
where the screen does not exceed 120 lines. Their lightness in weight 
means a saving of postage in mailing, but their practicability is de- 
pendent upon the supply and cost of aluminum. 


DuPLICATE PLATES 363 


TRADE CUSTOMS 


As electrotypes, nickeltypes and stereotypes must necessarily be 
exact duplicates of the originals from which they are made, they 
can not be made in a different size, screen or proportion from that of 
the originals. 

It is a very common practice to electrotype type forms containing 
halftones or line etchings, or both, and conditions often make it ad- 
visable to duplicate the form by other than all one process, as it may 
be found best to patch an original halftone, or a lead moulded electro- 
type from it, in a wax moulded electrotype of the type, etc. 

When mounted plates are sent to be electrotyped it is customary, 
in the absence of other instructions, to mount the electrotypes in the 
same manner as the original plates; thus, if the original is mounted on 
wood, with a tacking margin at top and bottom and trimmed flush on 
the sides, the electrotypes will be finished in the same manner. 

It is not customary for electrotypers to furnish proof of electro- 
type plates, and when furnished an extra charge is made for them. 

In making an electrotype of a part of a form or plate, it is necessary 
to make the mould of a larger area than the part actually wanted. 
Sometimes it is necessary to mould the entire form or plate, though 
only a small part of it is to be finished. The cost of such a plate will 
of course be more than the cost of an ordinary plate of the size ordered. 

An engraving or plate that is to be duplicated frequently by any 
of the processes should be numbered and left with the electrotyper, so 
that duplicates may be ordered from time to time as required. This 
will avoid the possibility of loss or damage in sending back and forth, 
and it will also avoid possible loss through sending the original to some 
customer instead of a duplicate. 

An electrotype may be distinguished from any other kind of 
printing plate because of its thin copper face which is backed with 
lead. It may be readily recognized by an examination of the edge of 
the plate. 

Electrotypes are billed from a standard scale of prices, the price 
depending upon the area of the plate, the kind of original and the 
quantity ordered. Usually an extra discount is given if ten or more 
are ordered from the same subject at one time and the discount in- 
creases as the number ordered is increased; i. e., a larger discount is 
given if twenty-five or more are ordered, a still larger one if fifty or 
more are ordered, and a still greater if one hundred or more are ordered 
of the same subject at the same time. 

The prices given on the scale are for plates mounted on wood, 
block measure. Beveled and unmounted plates are charged for on the 
basis of measurements on the back of the plate, which has the greatest 
area. Additional charges to scale prices are made for special rush 
orders; long, narrow plates; mounting on bases other than wood; fine 
screen halftones; type forms containing halftones or fine screen vign- 
etted plates; nickeltypes; steeltypes; binder stamps; embossing plates 
which require extra heavy shells; cleaning and plating worn and 
dirty type, correcting faulty lock-up; proofs; imperfect engraving; 


364 COMMERCIAL ENGRAVING AND PRINTING 


nickelplating; joining rules; building up, routing and registering color 
plates; curved plates; incorporating original halftones in mould; lock- 
ing up type forms when not received locked up in chase with bearers, 
and all operations extra to those required for straight electrotypes 
mounted on wood from properly prepared type forms or plates. 

Deductions are made from scale prices for quantity orders; when 
plates are not blocked, and for book, pamphlet and periodical plates 
when sixteen or more are ordered at one time. 

Proof of type forms to be electrotyped and written instructions 
are required with all orders; and orders cancelled after being entered 
are subject to a charge to compensate the electrotyper against loss. 


STEREOTYPES 


A stereotype is a duplicate of a printing plate, or type form, made 
by taking a cast from a matrix or mat, which has been made by taking 
a mould of the printing surface in a moist sheet of papier mache, or 
flong as it is sometimes called, by beating or rolling. The process is 
especially adapted to the making of duplicate plates for newspaper 
use and it is therefore not suitable for duplicating medium or fine 
screen halftones or fine-line line etchings. 

Anything that can be stereotyped can be electrotyped, but only 
subjects with the coarser detail should be stereotyped. Coarse screen 
halftones and line etchings to be used in newspaper work are usually 
stereotyped because this process is less expensive and quicker than 
cie trotyping, although almost any subject will print better if electro- 
typed. Wood bases can not be used for plates that are to be stereo- 
typed, since the heat and moisture incident to the process of making 
will cause them to swell and warp. Plates that are to be stereotyped 
should be ordered unmounted, as those who do stereotyping are equip- 
ped with bases on which to mount the original plates temporarily 
while making the matrices. 


PROCESS OF MAKING STEREOTYPES 


Matter that is to be stereotyped is first made up into a form and 
locked in a type high stereotype chase. The form is usually made up 
on a make-up, or form table, which in the best equipped shops is a table 
on wheels with brass or iron top, which may be moved about and used 
in the same manner for a page form as an imposing stone. The sheet 
of pulp or papier mache with which the matrix is made is usually 
composed of a number of layers of tissue paper built up on a thick sheet 
of unsized paper, with a special paste between the sheets. Some 
stereotypers make their own flong, others obtain it prepared ready 
for moulding. This combination of damp paper is placed on the 
type form, tissue side down, covered with a blanket, and pressure is 
applied to obtain the impression or mould either by beating with a 
brush or by the use of a matrix rolling machine. The latter method 
is more rapid and less injurious to the type and is in use in plants where 
plates are made in any considerable quantity. The form with the 


Pages 353 to 368, inclusive, are printed on 25x88—80 lb. Aizrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


DUPLICATE PLATES 365 


ies 


Outline-vignette halftones, 150 line. Made from slightly retouched photographs. 


Fig. 891. Beating a matrix with brush. Fig. 892. Matrix rolling machine. 


matrix still on it, is then transferred to a steam or electrically heated 
table and the matrix dried while under pressure, when it is removed 
from the form. The matrix is then placed in the casting box. Some 
boxes are built for casting flat plates for use on flat-bed presses, and 
others for curved plates for rotary presses as used in newspaper printing. 
The box ts tilted to an upright position and the molten metal is poured 
or pumped in. It hardens almost instantly and is usually partially 
cooled by the circulation of cold water through the lid of the casting 
box, that the plate may be taken up quickly for trimming, shaving 
and finishing. 

Dry mat paper is used occasionally, as for emergency cases for 
making newspaper plates where the saving of a few minutes in going 


| 


Square halftone, 150 line, no line. Made from slightly retouched photograph. 


Fig. 893. Steam heated matrix drying tables (rear) and a type form 
in chase on makeup and beating table. 


366 COMMERCIAL ENGRAVING AND PRINTING 


to press will warrant a sacrifice in the quality of results obtained in the 
plate. It is agreed that wet mat paper produces superior results to 
dry paper, but it requires a few minutes on the steam drying table after 
moulding. 

In Fig. 894 is shown a combination stereotyping apparatus for pre- 
paring matrices and casting flat plates. To make a matrix the casting 
box is swung to a horizontal position over the furnace and metal pot, 
and the yoke and hand wheel are turned to one side to permit the lid 
of the casting box to open. The form to be stereotyped is placed on the 
bed of the casting box and the flong placed on it and beaten in, after 
which it is covered with a drying blanket and the lid closed and clamped 
under compression by the hand wheel and yoke. After the matrix is 
dry the form and blankets are removed and gauges (K) of the thickness 
of the desired plate are so placed around the matrix as to obtain the 
length and width wanted for the cast. The lid is closed and the box 
is then swung to the casting position as shown in the illustration and 
the metal is poured from a ladle into the open end between the side 
gauges. Gas is usually used for heating the metal, although other fuel 
can be used with this outfit. 

Stereotypes are used almost exclusively in newspaper work, the 
advantage of their use being in the quickness with which they can be 
made and the comparatively low cost. They do not give as good detail 
or definition as may be had from plates made by the electrotyping 
process. 

The process of stereotyping is more or less injurious to type and 
many printers do not permit their best faces to be used in job work 
forms that are to be stereotyped. Under such conditions the form is 
first electrotyped and then the stereotypes are made from the electro- 
type. In preparing copy for engravings or forms that are to be stereo- 
typed, illustrations with fine lines and small type should be avoided. 


Outline-vignette halftones, 150 line. Made from slightly retouched photographs. 


Fig. 894. Casting box for flat plates. Fig. 895. Casting box for curved plates. 


DupLicATE PLATES 367 


Vignette halftone, 150 line. Made from a photograph of the group. 


Fig. 896. A newspaper page mat (left), a flat cast stereotype from it mounted 
on wood (center) and a curved stereotype for newspaper press (right). 


Mats are used extensively in sending duplicate advertisements to 
newspapers, as their use affords a quick method of distribution at 
lowest cost. If made properly from suitable type or line etchings, 
the printing results will be satisfactory, but if from halftones or small 
type, it is advisable to use electrotypes instead. The mat being of 
paper pulp in sheet form, has a tendency after receiving the impression 
from the type to shrink or flatten to its original form, thus decreasing 
the depth of the mould. When this mat is received by the newspaper 
a flat cast must be taken from it and this placed in the page, from which 
in turn is produced another mat, from which the actual printing plate 
is cast—four removes from the original. If an electrotype is furnished 
it is placed in the form and with only two removes the actual printing 
plate is produced, and it is a much better one than could be made 
from a mat from a stereotype. Some publications that print from 
stereotypes will not accept mats and they can not be used by publica- 
tions which do not have stereotyping facilities. 

Any number of mats may be made from the same plate or form, 
likewise any number of casts may be made from the same mata 
though, of course, the wear incident to several succeeding operations, 
although exceedingly slight, will make the plates less perfect as the 
quantity is increased, unless new originals or new mats are made from 
time to time as the matrix making or casting progresses. 

Curved stereotype plates made for printing color work, such as is 
used in supplements with the daily papers, are nickeled to give wearing 
qualities to the plate and to prevent colors used in printing being 
affected. 

In many of the larger newspaper plants, where time is an important 
consideration, on account of frequent and large editions, there are in 
use automatic plate-making machines as illustrated in Fig. 897, which 
will, with the aid of six men, cast and finish ready for use full page 
newspaper plates at the rate of six a minute. The matrix of the page is 
set on the back of the upright cylinder (A) and by a simple operation 
is brought into position with the cover (B), forming a complete casting 


368 COMMERCIAL ENGRAVING AND PRINTING 


box, into which the molten metal from the furnace (C) is pumped with 
lever (D). As the metal hardens almost instantly, the cylinder is 
turned, carrying with it the plate, which is discharged at the front (E) 
with the sides trimmed. If duplicates are wanted, they are cast without 
removing the matrix from the machine. There are two casting moulds 
in the outfit shown, one connected to each side of the furnace, each 
working entirely independent of the other. The plates as discharged 
are placed on a finishing machine (F) which automatically shaves the 


Square halftone, 150 line. Made from a black on white print from halftone. The reference letters were drawn on 
the print. 


Fig. 897. An automatic stereotype plate-making machine 
for newspaper plants. 


arch, or under side of the curved plate, trims off the “tail’’ or surplus 
metal around the edges and delivers the plate finished and cold ready 
for use as shown at right in Fig. 896. The casting cylinder, also the 
finishing machine, are kept cool with cold running water. 

The cost of stereotypes is less than the cost of electrotypes, but 
usually they are billed using the same scale as a basis. 

Electrotyping and stereotyping are separate and distinct branches 
of the graphic arts, requiring special equipment and workmen who 
specialize in these classes of work, and they offer the same amount of 
opportunity for variations in quality of product as in any other class 
of work. 


electrotypes from wood engravings, were practically the only 

kinds of plates adapted to letterpress printing. Wood engraving 
is one of the oldest methods in use today, its origin dating back to about 
930 A. D., when the Chinese evolved the system of carving the char- 
acters on wood and using the wood blocks as type. 

Although not extensively used it is especially adapted to certain 
requirements. Only a small part of present-day illustrations are made 
by this process, as compared with the number made by the photo- 
mechanical processes. Its popularity, however, for certain kinds of 
work is constantly increasing. Almost any subject may be engraved 
on wood, and wood engravings may be well printed on a wide variety 
of papers, but the process is principally used by those who issue 
catalogs to be widely distributed to the consuming trade, for illustrating 
trade paper advertisements, and other matter that is to be printed 
at high speed on medium quality or light weight paper. It is especially 
adapted to the illustrating of machinery, jewelry, tools, etc., particu- 
larly in case the size of the illustration must be limited, and when there 
is considerable detail. As they are easy to print, manufacturers who 
supply jobbers with electrotypes from them for use in their catalogs, 
do so with the assurance that they are supplying plates that will print 
well under most any condition. They are also used for headings, 
logotypes, etc. 

While portraits, animals, landscapes, and pictorial subjects may be 
engraved on wood, this kind of work must be done by a skilled en- 
graver, who is a specialist in that line. As the process is slow and there 
are few specialists, the cost of first-class work of this nature is high 
and such subjects are usually engraved on wood only when they are 
to be used as art subjects, or extensively for newspaper or magazine 
advertising illustrations. Many of the present day illustrations that 
have the appearance of wood engravings, are line etchings from pen 
drawings that have been made in this style of treatment. However, 
there is a certain smooth and continuous sweep to the wood cut line 
that cannot be imitated by the pen and ink artist. It is also possible 
to introduce more tone values on account of the variety of tools at the 
command of the engraver. 

On account of the depth and clean shoulders which it is possible 
to get in the hand cutting, wood engravings are superior to line 


Beeces the advent of photo-engraving, wood engravings, or 


*Line etching on copper. In preparing the copy the background was made up of printed clippings showing some of the 
designs that can be ruled on the machine shown in Fig. 907. These were trimmed and grouped as shown and the lettering, 
decorations and border were drawn on the group with pen and black and white ink. 


370 COMMERCIAL ENGRAVING AND PRINTING 


etchings or any other kind of plates for making electrotypes or rubber 
plates to be used in printing on soft and yielding surfaces, where high 
relief for the printing face is essential, also for making rubber stamps 
of facsimile signatures and designs other than type. 

Illustrations that have been printed from wood engravings are 
sharp, clean and clear as to detail, the lines and dots being usually 
smoother and a bit less irregular than those in line etchings from pen 
drawings. As compared with illustrations made by the halftone process, 
while the latter give a photographic appearance, the clearness of small 
detail in any subject is lost, more or less, because of the screen that 
must be used in making it. Since the lines of a wood engraving are for 
the most part continuous, and cut with the special purpose of bringing 
out detail in the illustration, it has an advantage over the halftone for 
some subjects because it has no screen and the engraver can introduce 
in the same illustration numerous tone values ranging from extreme 
blacks to extreme whites. 

Line etchings from pen drawings are used largely for the same pur- 
pose as wood engravings, the etching having some advantage because 
of convenience, expense and the fact that different sizes may be made 
from the same drawing. There is, of course, a limit as to the amount of 
reduction or enlargement any drawing will allow and at the same time 
afford a satisfactory reproduction. A wood engraving is complete in 
itself, and to obtain an original engraving of the same illustration in a 
different size, the entire process must be repeated, involving practically 
the same amount of expense as in making the first. However, a line 
etching can be made from a proof from a wood engraving to obtain 
the illustration in a different size and this is often done. Subjects in 
which the lines are coarse reproduce well, but those in which there is 


Fig. 901B was printed from an electrotype from a line etching on zinc, which was made from a proof from the original 
wood engraving which was six inches wide. Fig. 902B was printed from an electrotype from a wood engraving. 


Fig. 901B. Fig. 902B. 


Pictorial and mechanical subjects engraved on wood. 


Woop ENGRAVING ati ll 


TTT 


i 


li MN su il 

All Figs. 903 were printed from electrotypes from wood engravings. 

Fig. 903D. Fig. 903E. Fig. 903F. 
Miscellaneous examples of wood engraving. 


close shading have a tendency to fill between lines in the shadows and 
show broken lines in the high lights if reduced too much. 


COPY FOR WOOD ENGRAVINGS 


Wood engravings can be made from photographs, drawings, rough 
sketches, blue-prints, the actual subject, or other data the customer 
may be able to furnish. The more accurate and complete the data, 
the better, as complete and specific information as to what is desired 
saves time for the engraver and in turn saves time and money for the 
customer. 

KINDS OF WOOD USED 


The best wood for engraving is boxwood imported from Turkey 
and Abyssinia. This particular wood is used on account of its excessive 
hardness, specific gravity, evenness and closeness of grain, light color 
and its capacity for taking a fine polish. The supply of genuine box- 
wood is very short, and several substitutes are being used, the principal 
of these being sycamore, pear, persimmon and dogwood. Almost 
every block on which wood engraving is done is made up of several 


Pages 369 to 384, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book made by The Champion 
Coated Paper Co. Hamilton, Ohio. 


eo COMMERCIAL ENGRAVING AND PRINTING 


pieces joined together with tongue and groove and glue. The wood is 
supplied in blocks type high, each containing about one square foot. 
The large blocks are then cut into smaller blocks of the size that the 
finished engravings are to be. The wood must be thoroughly seasoned 
and, when the block is made up of several pieces, it must be so joined 
together as to form one solid block that will retain its solidity. The 
gluing and joining together is necessary from the fact that the block 
must be free from defects, and it is impossible to obtain perfect wood 
in any but small sections. It also prevents the block from warping 
or splitting. 

The log, or block, as it comes from the tree before seasoning is 
sawed into sections a little longer than type high. The blocks are then 


Outline halftone, 150 line. Made from a slightly retouched photograph. The block at left is type-high boxwood and 
that at right a boxwood top on a block of common hardwood. The latter also shows deep routing around the engraving. 


Fig. 904B. Photographic sketch on the wood block (left) and 
the finished wood engraving (right). 


dressed down to exact type height, and the better surface of the block, 
which is to receive the engraving, is polished. To make the available 
supply of boxwood go as far as possible a thin made-up section of the 
wood is sometimes glued to the top of a block of common hardwood 
to obtain a type high block. 

This process of engraving is sometimes known as engraving on 
“end wood.’’ Considerable engraving is also done on “side wood.” 
The wood used for “‘side wood”’ engraving is usually basswood or soft 
pine and the product is used for date lines for bill boards, posters, 
signs, etc.—in fact, for anything in which there is no small detail and 
the subject is simple and plain in character and when only a limited 
number of impressions are to be run, or when electrotypes are to be 
made. Some of the coarse engraving is also done on soft metal. 


TRANSFERRING THE SUBJECT TO THE BLOCK 


Before the engraving is made on the wood, the subject must first 
be sketched on the block in the same size the engraving is to be made, 
and, as the engraved illustration is reversed in printing as with type, 
the sketch which is afterwards engraved must read from right to left 
on the block. Before the sketch is made on the polished surface the 


et) oe 


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Woop ENGRAVING Bio 


latter usually receives a slight wash or coating. This usually consists 
of water with a very fine solution of flake white, or Chinese white. 
When this wash has dried on the block, it is carefully rubbed off, leaving 
sufficient for a surface which will take a pencil. 

If the engraving is made from a sketch a tracing of the subject is 
made, and placed on the block with transfer paper between. The 
tracing, having been made on transparent paper, is reversed, or turned 
upside down on the transfer paper, and, by tracing over the outline 
on the back of the original tracing with a sharp point, the outline is 
transferred by the transfer paper to the block. The outline now on 
the block is corrected as may be necessary and completed with a hard 


| A 


Fig. 905B was printed from an electrotype of an outline half tone, 120 line, made from a retouched photograph. Fig. 
906B was printed from an electrotype from a wood engraving. 


Fig. 905B. Fig. 906B. 
Halftone and wood engraving of same subject for comparison. 


pencil, the shading being applied with a softer pencil or a thin wash 
of India ink. The parts of the block not under immediate operation 
are kept covered to preserve the rest of the sketch from injury. 

A great many subjects are transferred to the block by photographic 
process. By this method all parts are kept in proper proportion and 
considerably less time is required than would be necessary if the object 
were to be drawn on the block. By this method a negative is made of 
the photograph, drawing, or article itself, making it the same size as 
the engraving is to be on wood. The polished surface of the block is 
sensitized to receive the print from the negative. Such alterations as 
are necessary in the print are made on the block with pencil, it being 
possible to correct almost any defect in the photograph, such as elimi- 
nating distortion, emphasizing minute details, etc. 

Many subjects are sketched, or drawn, directly on the block with- 
out transferring or photographing, the method depending on the 
nature of the subject and the kind of copy furnished. 

When the sketch is made on the block it may be submitted for 
O. K. to the person for whom the engraving is being made before the 
actual work of engraving is begun. It is usually advisable for the 
customer to see the work at this stage, unless the engraving is of a 


374 COMMERCIAL ENGRAVING AND PRINTING 


very simple nature, and, especially, if he has not seen a preliminary 
pencil sketch or drawing. Changes are easily made at this stage, while 
after the work is finished they may involve considerable extra expense 
or possibly the remaking of the entire job. 


Line etching on copper. Made from a black on white print from a wood engraving. 


Fig. 907. Ruling machine as used for wood engraving. 


ENGRAVING THE SUBJECT 


After the sketch on wood has been approved, the surface of the block 
is cut away, leaving a printing surface in relief. The whites in the 
picture correspond to the parts cut away in the block, and the solid 
colors to the parts which remain, while the shading is procured by dots 
and lines left upon the surface of the block. The broader surfaces are 
cut with a ruling machine—so constructed that it will cut straight 
lines, circles, waved lines, etc., in any desired width or length, and 
will cover the surfaces to be shaded much more quickly and better 
than can be done by hand. 

A wide, deep groove is usually cut around the engraved illustration, 
separating that part of the face of the block from the remaining blank 
surface. The blank, or dead, surface is usually cut or routed away to 
leave the completed engraving stand in relief, and the block is squared 
and trimmed so that it may be set with type and the entire page electro- 
typed. If the engraving is not to be electrotyped as a part of a form, the 
dead surface is usually allowed to remain as it makes electrotyping 
easier and prevents the edge of the engraving from becoming nicked. 

The tools used in making wood engravings consist of gravers, tint- 
tools, gouges or scoopers, and a sharp edged scraper. Several sizes of 
each of these tools are required for creating the lines of different char- 
acter, stipple, burnishing, ruling, etc. 


MAKING CORRECTIONS 


If a slip or mistake is made, it may be remedied by the insertion 
of a plug into a hole drilled into the block at the point where the mis- 
take occurred. After the plug is inserted, it is then brought to a smooth, 


Woop: ENGRAVING ED 


polished surface, level with the rest of the block, and this part is then 
re-engraved. Wood engravings that have warped, split, or become 
otherwise damaged, may frequently be patched and put again into good 
printing condition. 

PATTERN PLATES 


Often several engravings may be wanted from the same subject, 
but each to be slightly different in certain details. Usually it is not 
necessary to make a complete engraving to illustrate each of the dif- 
ferent views, for one engraving can be made of the complete article 
and then ‘‘pattern plates,’’ as they are sometimes called, to show the 
changes. A pattern plate is made by electrotyping the original wood 
engraving, making the electrotype with a thick shell and plugging 
with surplus metal the parts on which the change is to be made. This 
plugged part of metal is engraved the same as if it were wood, thus 
giving a complete illustration showing the change in detail as desired, 
and with small cost compared with the expense which would have 
been necessary had an entirely new engraving been made. 

Wood engravings, or pattern plates, are not used in actual printing, 
as a few thousand impressions would ruin them. Duplicate plates are 
therefore made by one of the regular electrotype processes. 


CUSTOMS AND COSTS 


Lead mould electrotypes, or stereotypes, should not be made 
directly from wood engravings, as the process of getting the mould 
will damage the original engraving. When duplicates by these 
processes are desired they should be made from a suitable electrotype 
made from the original wood engraving. 

The original wood engraving or pattern should be filed for making 
additional electrotypes, as necessary. 

To save wood, engravers sometimes cut more than one subject on 
the same block. There is no objection to this so long as electrotypes 
of each of the subjects on the block are made in the same number each 
time the block is electrotyped. However, when only one of the sub- 
jects on the block is to be electrotyped, it will mean increased cost, 
as the electrotyper in making the mould must mould the entire block 
to get the one illustration that is wanted. This means increased cost 
to the customer. It is also a convenience in filing to have each engrav- 
ing on a separate block, thus the engraver should be instructed to 
separate before delivery, subjects that have been grouped. 

Wood engravings may be identified or distinguished from other 
printing plates by the fact that the entire block, including the en- 
graved surface, is wood. 

The cost of a wood engraving depends upon the detail in the sub- 
ject and the size of the engraving. In getting quotations it is necessary 
therefore to submit either the subject to be engraved or a drawing, 
photograph, or other definite description of it, together with advice 
as to size of engraving wanted, pose, and the purpose for which it is to 
be used. 


| 
: 
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*Fig. 910. 


OR certain classes of work, wax engraving is exceedingly 1m- 
portant, although there are probably not more than 150 workmen 
in the United States who are prepared to handle it, and compared 

with other kinds of engraving, there is relatively a small amount of it 
done. 

Wax engraving is used primarily in the making of diagrams, charts, 
delicate rule work, lettering, headings, tints, cross section mechanical 
views, map making, etc., in all of which accuracy of size and propor- 
tions, fineness of detail, and delicacy of line are important. Another 
important use of wax engraving is in connection with the preparation 
of plates for illustrating text-books on geography, etc. The plates 
made from wax engravings are designed for printing on the ordinary © 
printing press, and they are quite frequently used to imitate litho- 
graph work. Results are not usually as soft as lithograph work. 

This process is rarely used and is almost impracticable in pictorial 
or portrait illustration. 

In all processes of engraving employing the camera and lens in 
transfering copy to the printing plate, there is more or less distortion, 
depending upon the size, the amount of enlargement or reduction, 
and the quality of the lens itself. No lens will give an absolutely 
correct reproduction. For this reason, photo-engravers cannot pro- 
duce in line etching satisfactory plates for the printing of recording 
charts, scales, diagrams, and other subjects where absolute accuracy 
is required. The lithographing process is likewise unsatisfactory for 
such work. No matter how accurate the engraving on the original 
stone, the transfer to the printing stone is made with damp paper 
which has more or less stretch or expansion to it. On a subject of 
any considerable size, this would result in a serious defect. 


COPY FOR WAX ENGRAVINGS 


Wax engravings may be made satisfactorily from rough sketches, 
drawings, photographs, blue-prints, or any other kind of copy which 
might be furnished to an artist from which he could make a drawing. 
Like wood engraving, lithograph and line etching, wax engraving is 
exclusively in lines and dots, and photographs cannot be reproduced 
with a photographic effect. However, photographs may be used for 


*Line etching on zinc. A proof from an electrotype from wax engraving was made for the background on which 
the border was drawn. A pen drawing was made of the lettering. Separate line negatives were made of the background 
and lettering and these were double printed on the metal for etching. The white line around the lettering was tooled in 


Wax ENGRAVING it 


Square halftone, 150 line, no line. Made direct from the original copy. 


Fig. 911. Rough copy to be engraved in wax. 


tracing or re-photographing so as to secure accuracy in outlines, pro- 
portions, shape, etc. 
DETAILS OF THE PROCESS 


In making a wax engraving, a thin copper plate is polished and 
stained black. It is then given a thin coating of gray wax, of a special 
composition based on beeswax, that will not break or pull loose. It 
retains its consistency almost indefinitely and does not dry out even 
when it is left for a long time on the plate. The wax is heated and 
flowed over the plate to about the thickness of a sheet of paper, 
although this layer of wax may be thicker for coarse work and even 
thinner for the finest and most careful engraving. After the wax 
surface has been scraped clean to make a perfectly level surface upon 
which to work, the design is drawn or photographed upon it in the 
exact size that the finished plate is to be, so as to bring out the lines 
that are to appear in the engraving. The design is then engraved 
through the wax to the black surface of the plate by means of sharp 
pointed tools or a ruling machine, or both. The cutting edge of the 
tool is in the shape of a ‘“‘V”’ with the point down. The tools are 


Ag ray 3 pf eA See 
Square-outline halftone, 150 line, no line. Made from slightly retouched photograph. 
Fig. 912. Engraved wax plate. 


378 COMMERCIAL ENGRAVING AND PRINTING 


pushed forward through the wax instead of being drawn toward the 
engraver as one would naturally expect. As the tools are pushed for- 
ward, the wax which is cut out naturally slides up the groove in the 
tool and leaves a cleaner cut engraving than would otherwise be pos- 
sible. The line work is cut with different tools, varied in size, so as to 
give the proper width to the separate lines. The black stain on the 
plate enables the engraver to tell with the eye as well as from the 
sense of touch when he has cut through the wax to the surface of the 
plate. 

The depth of the engraved plate is only the thickness of the wax 
coating. With wood engraving and line etching, the engraving must 
be cut or routed in order to bring the different parts of the work into 
proper relief. With the wax engraving, the relief has to be built up. 
In large spaces that are to show blank in the printed result, the depth 


Square-outline halftone, 150 line, no line. Made from slightly retouched photograph. 
Fig. 913. Engraved wax plate built up for electrotyping. 


of the wax would be too shallow and there would be a blur of ink in 
these spaces. To prevent this, these spaces are built up by adding 
additional wax which will give a greater height to the engraving and 
a greater depth in the printing plate. For this building, a tinted wax 
is usually used so that the engraver can easily tell what parts of the 
work have been completed. 


SPECIAL STEPS IN MAP WORK 


In map engraving when lettering is to be added, as for the names 
of towns, rivers, etc., the type is set up one or two words at a time in 
a holder which will keep the type in proper alignment. Different 
holders are employed, some in straight lines and some in curves, so 
that the type can be added to the engraving in whatever shape or size 
it is desired. The type face is pressed through the wax to the surface 
of the plate, just as one would use a rubber stamp. 

Large maps are made in sections for convenience in handling and 
on account of the impossibility of making the final electrotype in a 
size large enough to make the entire map at one time. The separate, 


Pages 369 to 384, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


Wax ENGRAVING 


3%9 


Outline halftone, 150 line. Made from photograph slightly retouched. 


Fig. 914. The electrotype from engraved wax plate. 


sectional electrotype plates are then combined to make the completed 

printing plate. When it is necessary to change a section of a map, 
any particular section can be re-engraved in wax, a new electrotype 
made of this particular part and this patched in. 

When the engraving on the wax plate is finished, it is gone over 
very carefully with a glass to catch any defects and to secure an accu- 
rate reading of the proof before the printing plate is made. When 
errors are found in a wax plate, the correction is made by melting the 


wax in the part which is incorrect, letting it flow together again, and 
that particular part is re-engraved correctly. 


ELECTROTYPING THE WAX PLATE 


The finished design upon the wax is positive in character, appear- 
ing exactly like the finished print. 


The resulting electrotype is a 
negative plate, which in turn will make a positive impression in the 
final print. When the wax plate goes to the electrotyper, it is coated 


on the back with wax and black leaded thoroughly on the face for 
insulation purposes, and is placed in the battery just the same as any 


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Printed from the electrotype as shown in Fig. 914. 


Fig. 915. The printed impression from the electrotype 
from the wax engraving. 


380 COMMERCIAL ENGRAVING AND PRINTING 


other wax cast for electrotyping. The process of making an electro- 
type from a wax engraving is just the same as from the moulds which 
are made from a type form or any other kind of copy, except that the 
shell is usually made much heavier than on the ordinary electrotype. 

In the process of making the electrotype, the wax engraving is 
destroyed, so that if the electrotype is defective, it.is necessary to go 
through the entire process of making a new engraving. With some 
subjects, this would be a very expensive proposition. It would like- 
wise be necessary to make the engraving over from the beginning if 
the electrotype should become damaged by accident or worn through 


ALL CHECKS CREDITED SUBJECT TO PAYMENT ALL CHECKS CREDITED SUBJECT TO PAYMENT 


OOLLARS CENTS DOLLARS 


CURRENCY CURRENCY 


SILVER SILVER 


GOLD GOLD 


CHECKS AS FOLLOWS CHECKS AS FOLLOWS 


s 


SEE THAT ALL CHECKS AND DRAFTS ARE ENDORSED SEE THAT ALL CHECKS ANDO DRAFTS ARE ENDORSED 


Printed from line etchings on zinc. Made from proofs of the type form and the electrotype from a wax plate. 
Fig. 916 Fig. 917. 
A type form (left) and a wax engraving made from it (right). 


use. It is therefore advisable to preserve the original electrotype as 
a pattern plate and use it for making such duplicate plates as may be 
desired or required. 

The nature of the subjects for which wax engraving is used is such 
that an electrotype by the ordinary process may be used for making 
duplicate electrotypes with just as good satisfaction as if the first 
plate were made a nickeltype or steeltype. Any of these different 
kinds of plates may be made directly from the wax if desired, or dupli- 
cates may be made by these other processes from the first electrotype. 

When color plates are desired to be used as tints or backgrounds 
with wax engraved plates, transfers are taken from the original elec- 
trotype in order to secure blanks from which the color plates may be 
cut, ruled or etched. 

The accuracy and quality of wax engraving depends entirely upon 
the skill of the engraver, both with his eye and with his hand, and 
this ability enters very largely into the comparative cost. 


Wax ENGRAVING 381 


While absolute accuracy can be secured in the original engraving 
on wax, there is a possibility of a slight shrinkage in the making of the 
electrotypes, but for general purposes, the resulting changes in the 
measurements are so slight as not to materially affect the result. 


WAX ENGRAVING OF RULED FORMS 


One of the most common uses for wax engraving is for ruled forms, 
with or without type matter, and to be printed in one or more colors. 
They are made by one of two methods, the electrotyper’s method and 
the wax engraver’s method. By the electrotyper’s method, if type 
matter is to be a part of the plate, it is set by the printer and spaced 
out as it is to appear in the form but all rules are omitted. The electro- 
typer makes a mould from the form in a wax plate which is then 
placed on a ruling machine as shown in Fig. 907, and the ruled lines 
are cut in the wax, following a rough sketch that is furnished to the 
electrotyper with a proof of the form. The form is then built up and an 
electrotype is made from the wax plate as already described. 

By the wax engraver’s method the line work is pointed off, or laid 
out, on the plate from the copy. The ruled work is then cut in with the 
ruling machine. The type matter is set, one word at a time, and pressed 
or stamped in its place on the plate, then after building up it is ready 
for the electrotyper. 

If the subject is to be printed in more than one color, as many 
electrotypes are made from the original electrotype as there are colors 
to be used and each is routed so as to leave on it only the part that is 
to print in its respective color. 


COST OF WAX ENGRAVING 


No uniform scale of prices can be established for this class of work, 
as its cost depends entirely upon the detail required. In order to make 
an intelligent quotation, the engraver must have an exact sample or 
description of what is desired and a separate estimate of cost must 
be made upon each job. Usually, wax engraving will be found more 
economical for the particular kinds of work for which it is best adapted. 


CEROTYPES 


This is a trade name given to a form of wax engraving as used for 
designs for letterheads, envelopes, business cards, billheads, state- 
mentheads and other forms of stationery where fine script or deli- 
cately shaded lettering and decorations are used in the designs. The 
general method of making is as herein described for maps and other 
work usually done by wax engraving, except greater skill is required 
on the part of the engraver for the handwork, thus the possibilities of 
the process are limited only by the skill of the engraver. It is possible 
to obtain very delicate lines by this process and as the plates may be 
printed on the ordinary letterpress with results approaching those 
obtained by lithography, it is sometimes used as a substitute for that 
process. As considerable skill and time are required to produce the 
plates by this method they are somewhat expensive. 


*Fig. 920. 


ing to the requirements of the work, with a perfectly smooth and 

polished surface, is coated to a depth of about one-sixteenth of an 
inch with a soft friable, white, heat-proof composition. Some operators 
coat their own plates, while others buy the prepared plates from supply 
houses, returning them after use for credit or to be re-coated. 

The design to be engraved is first sketched lightly on the chalk 
surface, and the lines representing those that are to print are then cut 
or engraved entirely through the coating of chalk to the blued surface 
of the plate beneath. The work is done with special tools of different 
sizes known as chalk gravers, and a hand blower is used to remove the 
loose chalk. The lines on the engraved plate appear just as they do 
in the print from the stereotype made from it and not in reverse as in 
most other engraved plates. If care is not exercised in cutting entirely 
through to the base plate, the shallow lines will produce low and rough 
lines in the stereotype plate which in turn will not print satisfactorily. 

After the design has been engraved in the chalk a stereotype is 
made from the plate, and after routing, trimming and mounting, the 
stereotype is ready for use. A special portable stereotyping outfit is 
obtainable for use where regular equipment is not available. 

In casting from a chalk plate, the plate and casting box are usually 
heated, and the stereotype metal is heated to a considerably higher 
degree than for ordinary work. Under these conditions, the metal 
being more fluid flows freely, does not become chilled upon coming in 
contact with the surface of the steel plate and produces a smooth 
printing surface on the cast. 

As the chalk composition on the plate is not hurt by the heat in 
casting, it can be cast from as often as needed. This permits the use of 
the entire surface, since the engraving may be done as needed. 

The quality and character of the results obtained in printing from 
stereotypes made from chalk plates depends entirely upon the artists’ 
ability to sketch or engrave the design upon the plate. 

The process is best adapted to the reproduction of cartoons, sig- 
nature designs, column and department headings, maps, diagrams and 
work of a similar nature used by the smaller newspapers. 

With stereotyping facilities in readiness, a printing plate ready for 
use can be produced in a few minutes after the engraving is completed. 


[: the chalk plate process, a flat steel plate, varying in size accord- 


*Square halftone, 150 line, no line. Made direct from an original chalk plate. 


CHALK PLATES 383 


While the time required for making the engraving depends upon the 
nature of the subject, it is possible for an artist who works rapidly and 
accurately (corrections cannot be easily made) to turn out the entire 
work quicker than by any other method. Duplicate stereotypes can 
be made from the original engraved plate as it is not injured in the 
process of stereotyping. 

Its use is practically confined to the smaller newspapers having no 
photo-engraving plant, and to cartoonists and others who are so located 
as to make it inconvenient to have line etchings made from pen draw- 
ings bya photo-engraving establishment. It is also used to some extent 
in rubber stamp work. Photographs and wash drawings cannot be re- 
produced by this process, it being adapted to line work only. 


Fig. 921. Printed from a stereotype made from the 
chalk plate shown in Fig. 920. 


ds 0: 


Pla (ede Co 
WW 


*Fig. 925. 


LL plates that are to be used on presses that have been built for 

AN pains from type must be mounted or backed by one of several 

methods so that the height to the top of the printing surface 

from the bottom of the mount will be exactly the height of type, which 
is .g18 of an inch. 

The blocks on which they are mounted should also be trimmed to 
exact pica measurements, so that they may be easily justified with the 
standard printing materials and equipment with which they will be 
used. Any plate maker will gladly make engravings or trim plates and 
blocks to pica measurements if so instructed when the order is placed. 
If, however, when ordering plates, sizes are given in fractional parts of 
an inch, such as 21%, 334, etc., the plate will be so made, and often 
with the result that the printer will complain of careless work on the 
part of the plate maker. 

It is equally as important that plates be just type high to avoid the 
need of the building up of the mounted plate, or surrounding matter, 
‘n order to obtain an even impression when the form is being made 
ready on the press. As time saved in justifying or makeready will 
mean a corresponding saving in cost of printing, it is in the line of 
economy to specify sizes properly, and likewise it adds to the plate- 
maker’s good reputation to see that such instructions are most care- 
fully complied with and that all mounts are planed to the correct 
height. 

It is the custom to mount all halftones, line etchings, electrotypes, 
nickeltypes, etc., that are to be used in job printing, on wood blocks 
unless otherwise ordered, using such additional margin or shoulder 
beyond the printing face of the plate as may be actually necessary to 
secure it properly to the block or back. A shoulder of about 4 of an 
inch is left all around for nailing when plates are being made. Thor- 
oughly seasoned cherry, mahogany, beech, birch and other woods are 
used for wood mountings, and it is generally conceded that cherry and 
mahogany are the most satisfactory. 

Any kind of backing wood will warp if not properly stored and 
cared for. All-wood used for this purpose must be thoroughly seasoned, 
but no matter how carefully seasoned it will swell if subjected to mois- 
ture, or contract with dryness, and when only one side is exposed, as 
is the case after the plate has been nailed to one side, a change of atmos- 
pheric conditions will cause warping. This usually will make neces- 


_ *Line etching on zinc. Made from a pen drawing, the design being in outline. The shading machine was used on the 
print on metal before etching to obtain the shaded ground and shadows. 


MetuHops oF Mountinc PLATES 385 


Outline halftones, 150 line. Made from slightly retouched photographs. 


Fig. 926. Fig. 927. Fig. 928. 
An unmounted line An unmounted halftone. A halftone sweat on 
etching. metal for patent base. 


sary a new block or at least remounting. Plates mounted on wood 
should therefore be kept dry and exposed as little as possible to changes 
in temperature and atmosphere. Danger of warping is also reduced if 
plates are kept flat and not on edge or end. 

Some advocate soaking wood blocks in oil before using in order to 
prevent warping, and while it may be an aid it is not infallible. 

Wood for mounting is usually obtained by the plate maker in glued 
up boards, ranging from ten to twelve inches in width and from one to 
three feet in length. It may also be obtained in different thicknesses 
suitable for mounting electrotypes, or halftones and line etchings made 
on metal of the usual thickness, type high without further dressing 
down. Most shops, however, prefer to buy the wood slightly thicker 
than really necessary so that after dressing one side and mounting the 
plate on it the finished plate may be run through a type-high planer 
and the other side planed off to obtain correct height. Where wood 
is bought with the expectation of using it without further dressing 


Outline halftones, 150 line. Made from slightly retouched photographs. 


Fig. 929. Fig. 930. Fig. 931. 


Square halftone nailed to Oval halftone nailed to Outline halftone nailed to 

plain wood block. glued up wood block. tongue and grooved wood 

Trimmed flush on sides. Trimmed flush with ex- block. Trimmed flush 
treme points. with extreme points. 


386 COMMERCIAL ENGRAVING AND PRINTING 


down, any variance in the thickness of the metal—and this frequently 
occurs—causes a variance in the height of the mounted plates, which 
of course necessitates extra makeready when printing. 


GLUED UP BACKING 


This is the most generally used wood and is made up of strips of 
various widths, averaging about three inches, joined together with glue. 
Different manufacturers have different types of joint for joining the 
strips in addition to the glue, while some wood is used that has only 
the plain glued joints. Such wood must be carefully selected, thor- 
oughly prepared and kiln dried to make it a reliable backing. One of 
the most used types of tongue and grooved backing is illustrated in 
Fig. 931. 

PANEL BACKING 

To make large blocks less likely to warp, panel backing is largely 

used. This is made of glued-up backing, across the ends of which a 


Outline halftones, 150 line. Made from slightly retouched photographs. 
Fig. 732. Laminated wood block. Fig. 933. Paneled wood block. 


cleat has been added by tongue and groove. In Fig. 933 it will be noted 
that a separate tongue is used in joining the side cleats to the panels, 
the grain of same running crosswise of the cleat. 


LAMINATED BACKING 


Laminated backing wood is also used by some who consider it more 
desirable than the single-ply board. This is made up of several thin 
layers of wood glued together, with the grain in the alternating layers 
running in opposite directions, thus making a somewhat more rigid 
mount that will not split and is less likely to shrink and warp than 
one-ply board, although not entirely exempt from these troubles. 


TRIMMING FLUSH 


It is customary when mounting a plate, if it is known that it is to 
be so used, to trim the block flush with the edges of the printing sur- 
face at the sides if it is to be used in a newspaper, periodical or maga- 
zine, so it will fit in the column if the printing face of the plate has 


MetHops or MountTinc PLATES DOL 


been made the full width of the column. By mounting flush is meant 
that no shoulder is left beyond the printing edge of the plate, the bevel 
or flange that might have been left on the plate being trimmed off 
with the wood block up to the outer edge of the printing surface of 
the plate. Large plates to be used in job work are nailed on all mar- 
gins, and when made to fit columns the faces of plates must be enough 
smaller to permit nailing margins at the sides. Small plates are ordi- 
narily nailed on only two edges, usually the top and bottom, with the 
sides trimmed flush. As each corner of a rectangular plate should be 
nailed to the block, it is impractical to tack only on one side and the 
top or bottom, leaving the other side and either top or bottom flush, 
but the plate if so ordered may be nailed at top and bottom with both 
sides trimmed flush or may be tacked or nailed on the sides with both 
top and bottom trimmed flush. Vignetted, outline, round or oval 
plates are usually trimmed flush with the extreme points of the print- 
ing surface, inasmuch as the irregular corners provide space for tacking 
on a rectangular block. 


Outline halftones, 150 line. Made from slightly retouched photographs. 
Fig. 934. Square halftone Fig. 935. Square halftone Fig. 936. Square halftone 


anchored to plain wood nailed to solid metal Sweat on to solid metal 
block. Trimmed flush block. Trimmed flush base. Trimmed flush 
all around. on sides. all around. 


Plates up to approximately four inches square may for ordinary 
use be sufficiently well mounted by tacking only on two opposite edges, 
thus making it an easy matter to trim the two remaining edges flush 
with the edge of the printing surface of the plate if desired. Larger 
plates are usually tacked on all four edges, and those that are as large 
as eight or ten inches square, and have no openings for inside nailing 
should, in addition, be anchored to the block at different points so that 
no area of more than forty or fifty square inches will not have been 
secured to the block, to prevent springing of the plate and to insure 
rigidity and permanency of the mount. The strain from the impres- 
sion while being printed is much greater on large plates than on small 
ones, especially if the expanse of printing surface carries considerable 
color which will require a heavy impression. It is sometimes necessary 
to sweat such plates on solid metal bases so that they may withstand 
the heavy impressions, especially in printing large tint plates on rough 
cover stock. 


Pages 385 to 400, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


388 COMMERCIAL ENGRAVING AND PRINTING 


Figs. 937 and 939 are outline halftones, 150 line, and were made from slightly retouched photographs. Fig. 938 is 
a line etching on zinc made from a print from a wood engraving. 


Fig. 937. Sectional view Fig. 938. Sectional view Fig. 939. Bottom view of 
of solder anchor. of bolt anchor. block to which plate has 
been anchored 


No extra expense is involved in trimming blocks flush with one or 
more edges of the printing surface when two sides of the plate remain 
for nailing, or where there are openings or an irregular outline providing 
spaces for tacking. However, a square finished halftone if mounted 
flush all around would necessitate anchoring the plate to the wood 
block or sweating it on to a metal base, either method involving addi- 
tional expense. 


ANCHORING PLATES TO WOOD BLOCKS 


Often it is necessary for the printing surface of a plate to be the 
same size as the wood base on which it is mounted, thus leaving no 
margin at top and bottom or sides for nailing the plate to the block. 
In such cases, if there are no open spaces in the face of the plate in 
which nails may be driven, the plate is anchored to the block. This is 
done by soldering the heads of small bolts to the corners of the under 
side of the plate and, if the plate is a large one, also at as many other 
points as may be necessary. Holes are then drilled in the wood block 
in positions to correspond with the bolts on the plate, these holes being 
reamed out both above and below. The plate is then placed on the 
block with the bolts projecting into the holes. The plate is placed face 
down and after bolting the plate to the block the holes are filled with 
molten type metal. 

By another method the bolt is omitted and the hole in the block 
made larger. Solder is poured on to the back of the plate to fill the 
hole, the block meanwhile being held securely against the plate. 

There is an extra charge for anchoring, based on the number of 
anchors, and as no plate should have less than two to four and many 
of them have more, depending on size, some other method of meeting 
requirements is often less expensive. The cost of anchoring a small 
plate to wood is usually about as much as for sweating the same plate 
on to a solid metal base, and in such cases the sweating on process 
should be used, not only on account of the expense but for safety and 
permanence as well. Damage of a very serious nature may result from 
plates coming loose in printing, not only to the loose plate itself but to 
other parts of the form in which it is being used and to the press as well. 


MetHops or Mountina PLATES 389 


SOLID METAL BASES 


Plates mounted on solid metal bases make the most rigid printing 
plates and make possible the best printing results. They are also the 
only kind that will remain permanent, not being affected by climate or 
atmospheric conditions. 

Such bases are usually made of the same kind of metal as is used 
for backing electrotypes, which is composed largely of lead. It is cast 
in large slabs and then planed to correct height, and cut into sizes 
required by sawing. The plates may be secured to the base by nailing, 
as on wood blocks, but the better way is to sweat them on. 


SWEATING PLATES ON METAL BASES 


The best method of substantially mounting copper or zinc plates 
on solid metal bases is to sweat them on, which in reality is to solder 
them together. Owing to the inaccessibility of the surfaces of the 
printing plate and the base when they are placed together they cannot 
be soldered in the usual way, hence special apparatus has been de- 
signed for doing this work, as shown in Fig. 941. The table-like ex- 
tension shown at the right may be gas, or electric heated, and is sepa- 
rated from the main table by asbestos that the heat may not be im- 
parted to the latter. After the two surfaces that are to be soldered 
have been thoroughly cleaned, intense heat is applied to the base which 
has previously been treated with the soldering solution. The plate is 
also heated and then placed on the base block with the solder in sheet 
form, and generally known as ‘‘tin foil,’ between and all are then 


Fig. 940 was printed from a wax mould electrotype made from an outline-vignette halftone, 150 line. The electrotype 
was outlined and routed to obtain an outline plate. Fig. 941 is an outline halftone, 133 line and was made from a print - 
rom a halftone. 
Fig. 940. Casting mould with cored Fig. 941. Electrically heated sweating 
cover for casting stereotypes on press. 
with cored bases. 


390 COMMERCIAL ENGRAVING AND PRINTING 


Outline halftones, 150 line. Made from slightly retouched photographs. 


Fig. 942. Stereotype on Fig. 943. Stereotype cast Fig. 944. Stereotype cast 
patent top cored base. on type high shell base. on cored type high base. 


Outline halftones, 150 line. Made from slightly retouched photographs. 
Fig. 945. Fig. 946. Fig. 947. 
Bottom views of bases shown in Figs. 942, 943 and 944. 


pushed under the platen of the press. Strong pressure is applied 
while the solder is fluid, and it is evenly distributed over the entire 
surface of the base block. The under platen is a strong water chest 
with an inlet and outlet water pipe for connecting with the water sup- 
ply. The mounted plate is thus cooled rapidly, and after trimming 
flush with edges or the extreme points of the printing surface, is planed 
to the required height and finished. 

When facilities are not at hand for sweating on with solder, plates 
are sometimes cemented to the metal base by means of a strong manila 
interlay and the use of glue placed on both sides of the interlay. 


BACKING UP FOR PATENT BASES 


Halftones and line etchings that are to be used on patent bases are 
backed by being sweat on to a sheet of metal to give them thickness of 
eleven points (.152 inch) and are finished with a beveled edge all round. 

While electrotype shells are usually backed to the required thick- 
ness, thin electrotypes may be sweat on to mounts to increase height 
if desired. 

There is less danger of a sweat-on electrotype coming loose from 
a metal base than there is of copper or zinc plates mounted by this 
method. With the former the two pieces of metal soldered together are 
the same and the fusing together is more permanent than when dif- 
ferent kinds of metal are soldered together. 


MetHops or Mountinca PLATES 391 


A plate may be removed from a base to which it has been sweated 
by again heating until the solder melts, when the plate is easily re- 
moved. After cleaning thoroughly the plate and base may again be 
mounted. 

CORED METAL BASES 


Cored metal bases are seldom used in mounting halftones or line 
etchings but are often used for electrotypes and stereotypes and are 
usually built right on to the plate by casting. They not only have the 
advantages of the solid metal bases but are much lighter, so that on 
large plates they make handling easier and decrease cost as well. The 
plate or shell is placed face down ina moulding pan that can be adjusted 
to size of base wanted. Special movable cores of steel with cross-ribs 
are then suspended above the back of the plate. The metal is then 
poured around the cores and over the back of the plate until the mould 
is filled. The cores are then removed and the plate is taken from the 
mould, and trimmed, planed to type high and finished. The placing 
of the cores of course determines the thickness of the metal on the back 
of the plate and the size of the feet and the space between them. As 
special casting is necessary, this method is not practical for small 
orders. 

PATENT-TOP CORED BASES 


Some newspaper service companies and many large national adver- 
tisers who furnish the smaller newspapers with plates regularly, econo- 
mize on the transportation of plates and also on the cost of metal by 
supplying their patrons with special bases, sending them from time 
to time ‘“‘change of copy” in the form of unmounted plates. These 
bases and plates are made interchangeable through an arrangement of 
channels or grooves in the bottom of the plates which fit over raised 
wedge shaped ridges on the base top, and a change is made by simply 
slipping one plate off the base and another on. Plates used in this 
manner are mostly stereotypes. 


COMBINING DIFFERENT KINDS OF PLATES ON ONE BASE 


As the pieces of metal used in making halftones and line etchings, 
backed up electrotype shells, and unmounted electrotypes intended 
for use on patent bases, are usually of different thicknesses, it will be 
seen that when any of these are to be combined on the same base it 
will be necessary that those to be so mounted be made of the same 
thickness before putting them on the blocks. This is usually done by 
sweating on: or backing up the thinner plates to the thickness of the 
thickest ones. It is seldom practical to attempt to shave down the 
thick ones if they have been trimmed and have no margins for hand- 
ling, because of possible damage in planing. 

The original engraving, etching or other plate of whatever thick- 
ness, may of course be backed to any greater height by tacking on 
wood or metal or sweating on metal, as conditions may require, and 
planing to the required height. An extra charge is made for tacking 
or sweating plates on solid metal, or cored metal bases. 


392 COMMERCIAL ENGRAVING AND PRINTING 


PATENT BLOCKS AND PLATE MOUNTING SYSTEMS 


The term ‘‘patent blocks’’ is applied generally to the different 
kinds of ribbed metal bases to which plates backed to eleven points in 
thickness with edges beveled may be held in position by hooks while 
being printed. This method is especially useful in printing color or 
other plates that require close register and in book and catalog work 
using either electrotypes, or original plates, backed to the proper thick- 
ness. | 


Square halftone, 150 line. Photographs of the two sheets were cut out and mounted on a light gray card. The 
shadows and background were painted in and from this copy the halftone was made. 


Fig. 948. The black or key sheet (above) and the orange or color sheet 
(below) of a two-color 32-page booklet. The color form was 
printed from plates on patent bases. 


The advantages to be had from their use are the unyielding strength 
of a metal base without the unnecessary weight of the type high solid 
metal base; accuracy in both size and height of plates, thus insuring 
the minimum amount of time for justifying and makeup and make- 
ready, and provision for easily registering plates separately without 
disturbing the other plates in the form or removing forms from the 
press. Their use in a form containing a number of plates to be regis- 
tered, as shown in Fig. 948, is especially advantageous, as to obtain a 


MetuHops or Mountine PLATES 393 


Outline halftones, 150 line. Made from retouched photographs. 


Fig. 949. Challenge cast iron sectional patent base blocks. 


hair line register for each of so many plates in one form would be 
almost impossible by any other method, notwithstanding a great 
amount of time might be spent in the effort. The system is also an 
expansive one, as the sectional blocks, made of steel, cast iron or other 
hard metal are made in a wide range of point system sizes and these 
may be assembled to accommodate a form of any size. 

Different systems vary slightly in make and in operation, but the 
following description of the method of using the system illustrated will 
apply to all in a general way. 

In making up a register form, usually the entire form is made up 
with 8 x 8 em pica units to the size of the sheet to be printed. The top 
of each section is interlined with pica squares which match as the sec- 
tions are assembled and thus aid in locating the plates. In each section 
is a small round hole, through which the end of the register hook key 
may be inserted and the section lifted out. The unit sections are also 
made in larger sizes, up to 24 x 36 em picas, for use with large plates 
in large forms, and smaller ones to fill in the smaller or irregular spaces. 

After locating the plates in their relative positions on the base thus 
formed, a line is drawn around each plate with a piece of crayon. The 
plates are then removed and the required sections lifted out, substitut- 


Outline halftones, 150 line. Made from retouched photographs. 


Fig. 950. Fig. 951. Fig. 952. Fig. 953. 
For medium and For irregular plates. For small plates. Catch for book 
large plates. plates. 


HY 


THE CHALLENGE MAG 
GRAWE HAVEN MICH 2 


ee 


co. 


Outline halftone, 150 line. Made from a wash drawing. 
Fig. 954. Register hook key. 
Challenge register hooks, key and catch. 


394. COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 
Fig. 955. Method of clamping plate to the hook. 


ing in their places the register hooks which are to secure or clamp the 
plates in position. The chalk marks will serve as a guide for placing 
the hooks in the proper position to accommodate the plate. The sec- 
tion shown at the right in the illustration in Fig. 956 was made up by 
this plan. 

Or if there be at hand only a limited supply of patent blocks, the 
blocks and hooks may be made up in single page units and the space 
between pages in the form filled with furniture as shown in the left 
section of the illustration of form on patent bases in Fig. 956. 

On book forms where catches are used on one side and one end of 
plates, it is customary to make up individual bases for each plate, fill- 


_ Outline halftone, 150 line. Made from an unretouched photograph. The subject appears “out of square” because 
it was not photographed “straight on.” 


Fig. 956. Section of the color form as shown in 
Fig. 948, made up on patent bases. 


MetuHops oF MountTING PLATES 395 


PATENTE 
GARE, FBO, 
§ PUL 28, a 


Outline halftones, 150 line. Made from retouched photographs. 


Fig. 957. Challenge cast iron Fig. 958. Wilson adjustable patent 
electrotype block. iron block. 


Patent blocks for book plates. 


ing in the gutters between plates with furniture. After one base has 
been assembled, it is a simple matter to duplicate it in making up bases 
for the remaining pages in the form. 

After the form is made up with register hooks or hooks and catches 
in place, it is locked up in the chase in the usual manner. The plates 
are then put on and clamped into position. If clamping devices have 
been properly placed in the form, it is a simple matter, by means of the 
adjustment provided, to register the plates; the pica square interlines 
forming a guide to perfect alignment. 

Another method includes a series of blocks in point system sizes 
with special hooks to meet special needs, and by another system each 
block is a full page plate, these plates being obtainable in most any size 
wanted. See Figs. 957 and 958. 

The heads of electrotype plates of book and catalog pages are 
usually not beveled but trimmed straight for the use of a straight- 
side head catch. A side catch is used to engage the bevel on the 
binding side of the page, thus the hooks are used only on the trimmed 
or outer side of the page and the bottom. On color or register work 
the plates are beveled so that the adjustable hooks may be used on 
all sides, the smaller hooks being used for the smaller plates. The 
swivel hook, shown in Fig. 951, will turn in either direction and adjust 
itself to any angle of an irregular plate or at any angle in the form. 

Plates of all sizes may be used on patent blocks and margins or 
space between plates, where saving of stock is an item, may be elimi- 
nated to such an extent as to leave only a few points between by under- 
beveling. While type may be used in the same form with plates that 
are being printed on patent bases by removing a section or sections of 
the base, and inserting the type instead, it is not always practical, and 
it is usually better to electrotype the type, backing it to proper thick- 
ness for use on the patent bases. 

To save the expense of electrotyping type that is to be printed at 
the same time as one of the colors, the plates to run in that color are 
mounted on wood or metal type high and set in the type form, while 
the remaining plates of the set are backed and run on patent bases to 
make register less difficult. This plan was followed in printing the 
letterpress color work in Commercial Engraving and Printing. All 


Pages 385 to 400, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


396 COMMERCIAL ENGRAVING AND PRINTING 


plates to print in black were mounted on wood and made up with the 
type matter into pages. The plates to print in color were backed to 
the proper thickness and used on patent bases. 

The platemaker must be informed when the order is placed if plates 
are to be used on patent bases, the usual instructions being to make 
them ‘‘unmounted and beveled for patent blocks.’’ If the plates are 
electrotypes or nickeltypes the cost of them unmounted and beveled 
for patent blocks will be less than for the same plates mounted on wood 
base, for, as explained under the process of making electrotypes, it 
means no extra labor to increase the thickness of the backing, and the 
small amount of extra metal is more than offset by the saving of labor 
and material required to mount on wood. There is however an extra 
charge for backing and beveling halftones and line etchings for patent 
bases, as this is an additional operation requiring both extra labor and 
material. 

MORTISING 


To accommodate type or other plates it is often necessary to mortise 
a plate. Mortising is the cutting away of a part of the block, usually 
in a space that has been left for the insertion of type matter. Generally 
speaking there are two kinds of mortises, inside and outside. An inside 
mortise is one inside of a border or otherwise so located as to make it 
necessary first to drill through the block so that the saw blade may be 
inserted for cutting out the mortise. An outside mortise is one which 
can be made by the saw without first drilling and when small for key 
number in advertisements is also known as a notch. 

Mortises are not always rectangular in shape and it is very often 
necessary to make them in odd or irregular shapes such as stair-step- 
ping, curved and in other forms necessary to conform with the shape of 
the space that is to be used. It is very important that the side walls 
of a mortise be perfectly perpendicular and that the corners be square, 
so that type or plates to be used in it will fit perfectly; otherwise, in 
using small type especially, there is danger of its being off its feet, in 
which case imperfect printing will be the result. 

It is seldom practical to attempt to set type in a mortise with a 
curved outline, although it can be done. When it is, the irregular 
openings at the end of the lines are filled with plaster of paris, wet 
paper, or other material to hold the characters in place. 

It is better not to mortise plates if it would require several mor- 
tises to accommodate the insertion of type and if the block would be 
greatly weakened by the several mortises. Instead, the type may be 
set to fit the respective openings and electrotyped and the electrotypes 
backed to the thickness of the plate with which they are to be used 
and then nailed in their respective places. This plan will also prevent 
crooked lines, which are often the result of crowding type into mor- 
tises, and all type will print perfectly. 

Narrow borders and other plates in the mortising of which it is 
necessary to cut away so much of the block that the remaining part is 
frail and may be easily split or damaged, should be sweat on metal 
bases before mortising. 

Plates that are to be used for electrotyping only, and are not to 


MetuHops or Mountinc PLATES 397 


__ Fig. 959 is an outline halftone, 150 line, and was made from a retouched photograph of a halftone on a wood block. 
Fig. 960 is an outline-vignette halftone, 150 line, and was made from a retouched photograph. 


Fig. 959. Inside, stepped and Fig. 960. Royle jig saw and 
outside mortises. drill as used for mortising. 


be used in printing need not be mounted, and the blank metal should 
be left on the plate, as explained under Duplicate Plates. 

In using mortised borders, care must be exercised to keep them from 
being sprung in locking the forms for the press. This springing may 
result if the matter inside has not been justified properly or if the mat- 
ter has been crowded in too tightly. Where type matter necessitates 
close mortising of a border it is better to electrotype the border and 
type matter separately and patch the electrotypes together and thus 
insure straight border lines and usually effecting a considerable saving 
in cost for time in justifying the type in the mortise. If several electro- 
types of the same subject are required, an electrotype of the type 
matter may be patched in the original and this patched plate used asa 
pattern from which to make the remaining complete electrotypes. 

When circumstances will permit leaving a sufficient support of wood 
outside the plate, as when the combination is to be used for electro- 
typing only, or when the block does not need to be trimmed close to 
fit in a certain space, it is sometimes practical to set type in a closely 
mortised border. 

If a mortise is to be complicated in outline, a proof should be taken 
of the plate and the boundaries of the mortise indicated thereon for 
the guidance of the workman; otherwise much time may be wasted in 
mortising an irregular opening if a general order is given to mortise 
close. It should also be kept in mind that proper nailing margins 
must be left inside of the border if other nailing spaces are not available. 


398 COMMERCIAL ENGRAVING AND PRINTING 


Plain rectangular mortises of small size are charged for at a fixed 
price, inside mortises being slightly more than outside mortises and 
those in metal bases are more than those in wood. Irregular and com- 
plicated mortises are charged for on the basis of time required for 
making them. 

Usually the wood block where exposed between printed surfaces in 
large openings is routed down to the depth of about a quarter of an 
inch before using the plates for printing. This prevents any possi- 
bility of the sheet sagging to touch the wood which would ordinarily 
receive more or less ink and thus cause smudging or blurring when 
printing. 


y) 


- AA \ | \ 
! 


ETTERPRESS printing, commonly called printing, embraces all 
of the various methods of printing from raised characters or 
plates. It is also called relief printing. By far more printed 
matter is produced by this process than by all other processes com- 
bined. The diversity of demands has made necessary an almost 
unlimited line of equipment with which to produce work ranging 
from the simplest to the most complex in make-up, and from small 
quantities to enormous volumes. Generally speaking, no two pieces 
of printed matter are produced in exactly the same manner, and 
this necessitates planning and producing each piece of work in its 
own way. In producing a piece of printed matter, whether it is a 
simple card, or a large and elaborate catalog or book, the first thing 
to which to give consideration is the plan and the preparation of the 
copy. The second step is putting this copy into type form, or plate, 
suitable to the plan adopted; and the third is the presswork, or 
transferring the printed impression from the form to the paper, or 
other surface on which it is to be printed. This is usually followed 
by one or more finishing operations, or binding, the various procedures 
being explained under Bookbinding. 


SELECTING THE PRINTER 


To obtain the service that one should receive, the printer should 
be consulted very early in the formative period on any piece of work of 
consequence, so that all plans may be carried forward in a manner to 
insure close co-operation and the most economical handling of the work 
when the copy is finally turned over to him. Give the order to a 
printer equipped to handle the special work in hand. This does not 
necessarily mean that every order should go to the same printer, but 
some printers specialize in fine halftone and process color work, others 
do publication work, others small job work, etc., while a few are pre- 
pared to handle any kind of an order. 

Many now like the idea of entrusting their orders to a good printer 
without demanding from him a quotation in advance, leaving it to 
him to make a fair charge based on actual cost of production. This 
system has the advantage of giving the printer an opportunity to turn 


*Line etching on zinc. Made from a pen drawing. The shading machine was used on the print on metal before 
etching to obtain the ruled background in the main panel. 


4.00 COMMERCIAL ENGRAVING AND PRINTING 


out good work, and the obligation he feels as a result of the confidence 
reposed in him is usually a sufficient guarantee of fairness when it comes 
to making his charges. The advantage that comes from the printer’s 
knowledge of a customer’s requirements, preferences, etc., gained from 
frequent intercourse, may also be obtained when the work is all placed 
with one firm or divided among a limited number in order to get 
special service. 

When the work is given to a printer without definite price, the 
customer takes no chance of substitution of inferior stock or ink, in- 
sufficient makeready or the slighting of the work in any way in order 
that the printer may make a reasonable profit. 


PLANNING THE WORK 


If the customer has clearly in mind just what he wants, it is 
obvious that the printer will have a minimum difficulty in producing 
it. If the customer’s ideas are still hazy and indefinite when he comes 
to the printer, he can, and should, expect to pay for the time and skill 
required to get his material in proper shape. Most printers are very 
glad to help their customers determine the size, form, and general 
character of such printed matter as they may wish to obtain without 
extra charge, but if they plan and write a piece of advertising litera- 
ture they should be paid extra for this service the same as one would 
expect to pay a competent advertising bureau or advertising agency 
for it. Such service not only usually insures a well planned and 
economical piece of printing, from the standpoint of size, typographical 
arrangement, etc., but the chances are much in favor of its being more 
effective from the standpoint of sales appeal; and of course if the 
printed message accomplishes its purpose, the printer gets his share 
of the credit. The fees charged by advertising specialists are not 
prohibitive, and often the addition of a single appeal, or the elimina- 
tion of a faulty one, will make a difference in results that will more 
than pay for the advertising service. 

Even when the customer decides that the services of an advertising 
man are not required, when the piece of printed matter is not intended 
to carry a sales appeal, it should be just as carefully prepared for the 
printer, rather than turned over to him in an incomplete and indef- 
inite state. Buyers of printing often complain that printers charge 
them exorbitant prices, when, as a matter of fact, if they would take 
more pains properly to prepare the copy, their bills would be con- 
siderably lower. When a printer is required to take a mass of unor- 
ganized material and work it up into an attractive form he should be 
properly recompensed for the preparation of the copy, in addition to 
the standard cost of the printing alone. 


THE PAPER. SIOCK 


Whether the work is to be a slip, folder, mailing card, booklet, 
catalog or some other form of printed matter, the kind, color and 
weight of paper must be selected; then the size of the piece may be 
determined to obtain the most economical use of stock. If only a small 


LETTERPRESS PRINTING 401 


number of copies of a small piece are to be printed, the matter of paper 
is usually a small item and does not require the careful consideration 
that it must have when a considerable quantity of it is to be used. 

In determining the size of sheet required when more than one page 
is to be printed at a time, the manner in which the printed sheet is to 
be folded must be taken into consideration. It will frequently be found 

that a single page of the selected size will cut without waste from a 
certain stock size, but when four, eight, sixteen, or more, of the pages 
are to be run at one time it may develop that the sheet of paper cuts 
to an excessive waste, or is not large enough. 


PAGE SIZE SHEET SIZE COVER PAPER SIZE 
34x 5%cutsfrom 28 x 44—8, 16, 32 pages 23 xX 33 + 1I8ou 
Bakeorse 2866632 «6X 44-8, 16,32 * 23 e3 e ae an 
ee Xu ‘ 25 x 38—24 pages 2052 Oa ees 
eo: Sera Ome 4 Ones 20,32) pares meres X38 5 16ue 
334% 7 wee 32 x 44-24 pages 231X133 meni eae 
44x 5% * ; 25 x 38—8, 16, 32 pages PLO MD. AE che 
oie 83 CX 40-24 2375-33.) u lous 
iecx Oise. @ a 25 x.38—24 “ 20 x 26 Seat 
me xml : 28 x 42—8, 16, 32 pages Deaese Om. 
awe x 744 |“ > 30% x 4I—8, 16,32 “ 20 x 26 ey Os 
peo eee es | 28) X 44-8, 16,32 2 BE X53 tO 
4%x 8 é 25 x 38—24 pages 20 x 26 oy 
ee oe ee 32. X 44-8, 10,32 pages 23. X33 8 
54x 7% * 2300x 46-—8, 16,327 = DaeKaae Some 
444% 978 © 7 307QX 41-24 20x 2 Oat 
SAO 2 X44 24 235X033 mee O mare 
Ceexe OG.“ i 25 x 38—8, 16, 32 pages 2O R26 A 
64x 9% * i 26 x 29—24 pages ; 20/126 sas 
Ae Gee 32 FX 44—8, 10, 32 * 231X033 meee 
a eee 33 X46--8, 16,32 1 2395533 Fed ie 
oyxi2k * , 25 x 38—8, 16 pages 20 Ka2G oa. 


Fig. 976. Some of the most used sizes for booklets and catalogs and paper 
stock sizes from which they may be made. 


Consideration must also be given to the size in which the paper 
to be used is obtainable; and the pages should be made of such size as 
will cut from the stock size without waste, not overlooking the fact 
that each page will require some little additional area over that of the 
finally trimmed and completed page, on account of the waste in folding 
and trimming. For example, a booklet with pages 6 x 9 inches cuts to 
advantage from a sheet 25 x 38 inches, there being about the right 
amount of excess area to cover the folding and trimming. This will 
provide for a sixteen page form, that is to be run on one side, turned 
and backed up, and when cut in two each sheet making two complete 
sixteen page signatures, or a thirty-two page signature when printed on 
each side with two separate sixteen page forms. A booklet with pages 
6 x I0 inches, if printed on a sheet of stock 25 x 38 would entail a con- 
siderable amount of waste. By a little advance planning to make sure 
that the size adopted will cut the required number of pages without 
unnecessary waste and from a size carried in stock by the jobber, a 
working over of the plans or unnecessary loss may be avoided. 


Pages 401 to 416, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


4.02 COMMERCIAL ENGRAVING AND PRINTING 


The sizes for booklets and catalogs given in Fig. 976 all permit the 
use of papers of a standard sheet size both for inside pages and cover, 
and. allow sufficient margins for trimming without unnecessary waste 
of stock. They can also be economically produced as they conform 
to the standards required to facilitate imposition, presswork, folding 
and binding. In most cases stock sizes of envelopes to fit are obtainable 
or if envelopes are required of special stock to match covers, they may 
be cut from stock paper sizes without unnecessary waste. Also the 
cover stock sizes are sufficiently large to permit the use of extended 
covers if they are wanted instead of those trimmed flush. Other sizes 
are, of course, often made and sometimes with a loss of stock, or other 
increase in cost of production, or both. The dimensions given are the 
trimmed page size. 

THE HYPOTENUSE OBLONG 


Certain national organizations, the members of which are large 
users or producers of printed matter, have suggested the hypotenuse 
oblong as a standard method of determining page sizes and propor- 
tions. It isa page or sheet proportion, not a page size. It is so called 
because the length or width of the page is determined by an hypotenuse 
—the long side of a right-angle triangle. The hypotenuse oblong is 
the only possible rectangle, so proportioned that when it is halved 
or doubled, the resulting oblongs retain the same original proportion of 
length to width, although it may be halved or doubled indefinitely as 
shown in C and D in Fig. 977. 

If the size of the short side of the page is known as in A in Fig. 977, 
draw a horizontal line of that length to represent it, then draw a per-. 
pendicular line connecting with one end of it of same length so as to 
make equal sides of a right-angle triangle of which the hypotenuse 
makes the third side. The length of this hypotenuse will be the exact 
length of the hypotenuse oblong desired. Conversely, if the long 
dimension is known as in B in Fig. 977, take half its length, for a hori- 
zontal base, draw a perpendicular of the same length as this base, 
joining the points, and the hypotenuse thus obtained will give the 


exact width. 
if 
kee,” 
cl 
A | 
4 3 


Line etching on zinc. A pen drawing was made of the diagrams on which was pasted proofs from type of the lettering 
and figures. The etching was made from the combined copy. 


ASCERTAINED WIDTH— 


eRe ae ak, q 


Ss 2S a Se eS eee 


|}k——— ASCERTAINED HEIGHT >| 
|< KNOWN _ HEIGHT» 


<— KNOWN WIDTH ——+| 
A 


B 


Fig. 977. The hypotenuse oblong. 


LETTERPRESS PRINTING 403 


No. TRIM SIZES (INCHES) _Format No. 6 is for diminutive books, ladies’ 
visiting cards, business cards, photographs, etc. 
I 25/64 x 35/64 Format No. 6% is for small prayer-books, 
11 15/32 x 21/32 diminutives, business cards, file and index 
2 cards, playing cards, etc. 
2 35/64 x 25/32 Format No. 7 is appropriate for small 
2% 2132 X 15/16 pocket”’ editions, prayer-books, etc.; also for 
3 25/32 xT 7/64 business cards, file cards, photographs, etc. 
Format No. 7% is applicable to medium 
3% pon > Sua 21/64 Le editions, manuals, small handbooks, 
I SOT 16 cards, blotters, etc. 
1M I Be Susy ae Format No. 8 is suitable for ‘‘pocket”’ 
4/72 4 7 editions, handbooks, guidebooks, booklets, 
5 Ta O/1O"x, 2 GP biblelots, circulars, cabinet photographs, etc. 
5% ine oo x 2 5/8 te ss wie an elegant size for a folded note paper 
or ladies’ use. 
Format No. 8% is a very convenient size and 
6 2 a3 x 3 5/32 should prove the popular one for fiction, poetry, 
6% 2m | SAX. 3 3/4 and the like; also for elementary schoolbooks, 
7 3 5/32 x 4 7/16 eel SN aie ees perme etc: 
orma Oo. s the best for ordinary size 
74 Baas 5 .5/16 magazines, pamphlets, reports of all sorts, 
8 Ty AES ae) 5/16 monographs, scientific and medical works, 
814 5 5/16 x 7 1/2 de luxe novels, poetry and belles-lettres; | also 
2 for advanced textbooks, academic and abridged 
9 6) *5/16 x .8 a asioners paell encyclopedias, church hym- 
L 1/2 x To nals, choral books, ‘“‘octavo’’ music, oblong 
ie f i ¥ 12 a half-size music pages, mantel or stand photo- 
7 5) graphs, and circulars, bills, statements, dray- 
10% 109959. x 15 bills, etc. It is a splendid size for men’s note or 
letter paper for pee Cog ges ee 
Format No. 9% is for the medium large 
I! 12 5/ Con tal i 13) 16 magazines, manufacturers’ and dealers’ catalogs, 
11% I5 x 21 1/4 etc. It is the proper size for letter paper for 
12 Teiay tOex 253/16 business correspondence, in the place of the 
12! 21 1/ 20 so-called ‘“‘bi-fold”’ size. 
A 4 3 Format No. to is for large page magazines, 
13 25 ZATG x 35 5/8 dictionaries, encyclopedias, atlases, geographies, 
13% 30 FOINGY ok ee) regular sheet music, railway and other tariffs, 
tT /8 LEG /8 - legal documents, art prints, wall photographs, 
4 oe 2 3 small posters, and the like. 
14% A2e ty De. x 60 Format No. 10) is for extra large magazines, 
15 50 3/8 maT 1/4 four-column newspapers and periodicals, etc. 


The first section of the accompanying table 
governs the sizes of Trimmed Cards, Tickets, 
Stamps, Labels, etc. 

The dimensions in the second section of the 
table give the sizes of Trimmed Magazines, 
Brochures, and Pamphlets, and of the Covers 
of Bound Books; also of Trimmed Writing 
Papers and Stationery (flat or folded), Loose- 
Leaf Sheets and Cards, etc. 

The third section governs the sizes of News- 
papers, large Charts, Maps, Prints, Posters, etc. 


Format No. 11 is for five-column newspapers, 
also for maps, charts, atlases, art prints, posters, 
GUG: 

In the case of board and leather bound books 
the dimensions govern the size of the covers. 

Certain formats may be used double length 
for timetable and other long folders, notes, 
drafts, checks, etc. 

The esthetic or de luxe dimensions of a type- 
page are one-half of those of the trimmed paper- 
page on which it is printed: that is, for example, 
for a No. 9 paper-page take the dimensions of 
No. 8 format for the type-page. 


Fig. 978. Standard format sizes. 


Among the advantages to be gained by its use are: 

Cutting without waste smaller sizes descending geometrically from 
a large sheet of the hypotenuse oblong proportion, all having the 
standard proportion of length to width. 

The reproduction of drawings, or catalog or other pages without 
changing proportions, to smaller or larger sizes than those originally 
intended and which will be of a size adapted to stock paper sizes. 

A saving is effected on drawings and plates made for trade and 
class journals and magazines who have adopted these proportions, 
and an additional saving when the same illustrations are to be used in 
catalogs, folders or other printed matter, the pages of which are in these 
proportions. 

By being able to use the same drawings without change in propor- 
tion for plates for various purposes better drawings are justified. 


AOA COMMERCIAL ENGRAVING AND PRINTING 


Extra sheets or inserts, of smaller or larger sizes can be cut from 
stock paper sizes and folded to fit exactly for enclosures, tipping in, 
or for filing. 

In Fig. 978 is given a complete table of formats showing how the 
system is built up, with one centimeter of the universal metric system, 
as the basic starting point. Also in the explanatory notes are given 
the uses of these standard formats. 

Format 9% is the size most in favor for a standard catalog size as 
the proportion of the size is the artistic hypotenuse oblong; the paper 
size, the largest book size that can be cut from a standard sheet size, 
32 x 44, practically without waste; the size for type matter retains 
hypotenuse oblong proportions and is large enough to permit two 
columns to the page; it allows the printing of 16 pages at one impres- 
sion, or 32 pages if double size sheets are used, thus saving press work; 
it can be folded on all makes of folding machines, thus reducing the 
cost of binding. And unbound, or bound in cloth or paper, it fits a 
standard letter file. This format is also within a trim of the two-fold 
or utility size for letterhead which is 7,°; x 103. 

In planning for odd sizes, where any considerable quantity of stock 
will be required, the factor of time necessary to obtain from the jobber 
or mill the special size of stock to work without waste must be con- 
sidered, as well as the possibility of getting the required size. 

When a customer’s requirements make it necessary to use a stock 
size of paper that cannot be cut advantageously the customer, of course, 
pays for the full stock size sheets, even though only a part of each 
sheet is used for his order. Use can often be made of the waste for 
additional pages to be run in a smaller form for the same job or for 
small folders, circulars, etc., depending on the kind of stock and the 
size of the piece of waste. 

Wider margins for handling are required on sheets that are to be 
printed on a job press than those that are to be run on a cylinder press. 
When close margins are planned the printer should be consulted before 
definite plans are made. One of the errors that is frequently made is 
failure to provide for using a size of stock that is large enough when a 
plate is to be printed that is to “‘bleed’’ off on one or more of its edges. 
Such sheets must be trimmed after being printed and must have 
sufficient margins for handling while being printed. 

The form or shape in which a piece of printed matter may be pro- 
duced ranges from a single one page sheet to the most elaborate and 
expensively bound book. In the accompanying illustration, Fig. 979, 
are shown most of the basic ideas from which to build. The size of 
the page, the proportion of the length to the width, the number of 
pages, the arrangement of the matter to be printed, margins, folds and 
similar details may be varied in an unlimited number of ways. 


SELECTION OF PAPER 


Every printing office is supplied with sample files showing a com- 
plete line of papers from one or more paper jobbers, thus presenting 
the line in a more convenient and accessible form than if the customer 


LETTERPRESS PRINTING 4.05 


Line etching on zinc. Made from a pen drawing on which proofs from type of the key letters had been pasted. 


Fig. 979. Some of the methods of folding circulars and folders 
and of binding booklets and catalogs. 


had access to the paper establishments, and one can readily decide 
upon the stock to be used by consulting these files. 

The purpose for which the printed matter in question is to be used, 
and the class of people it is to be sent to, will determine largely the 
kind of paper stock that should be selected, size, weight, color and 


406 COMMERCIAL ENGRAVING AND PRINTING 


quality all being taken into consideration. But owing to the wide 
field from which to make selection, personal preference often is the 
determining factor. The process of illustrating to be employed, the 
distribution and handling of the finished work and various other ques- 
tions may also present themselves. 

Plain type, line etchings, and wood or wax engravings can be 
printed upon almost any kind of paper. Halftones, however, require 
a well finished smooth surface in order to give good results. 

Often it is desired to use halftone illustrations in connection with 
a coarse or antique finish body stock, in which case the only practical 
way is either to print the halftones on enamel coated paper and “‘tip”’ 
them on the rough stock, or to iron out a panel on the rough stock, 
thus obtaining a smooth surface whereon the halftone may be printed. 
This ironing out is done with a flat stamping plate and is best done 
with a hot plate on a heavy press in the same manner as embossing. 
It is impractical except for comparatively small surfaces. 

If pen and ink, or typewriter are to be used on the printed matter, 
a sized stock, which will take this kind of work, must be employed, 
while a sheet that is to be folded and which will receive rough usage 
in the mails must have strength and wearing qualities, and selections 
must be made accordingly. 

In selecting the weight of paper to be used, the larger the size of 
the pages and the fewer of them the heavier the weight of paper 
required in order that the finished piece may have sufficient bulk or 
body. 

Another point which should be considered is the postage required 
for mailing. A saving may sometimes be made by only a slight 
reduction in the weight of paper or a slight additional trim. 

To estimate the amount of stock for a job, the size of the page 
and the number of pages must first be determined, then the number 
of pages that are to be printed at one time. For example, in finding 
the amount of paper required to print 5000 copies of a four page folder, 
size of trimmed page 6x9, printing the four pages at one time, we 
find that the most compact form and arrangement of the pages so that 
they can be most easily handled on the press is to place the pages side 
by side in pairs and the pairs end to end. Thus a sheet slightly larger 
than 12 x 18 inches will be required for the four pages. This includes 
sufficient allowance for extra margin for cutting apart and trimming 
after printing and folding. If a book paper is to be used reference is 
made to the jobber’s list of stock sizes, and as no size is to be found 
that is slightly larger than 12 x 18, a size is selected from which the 
sheets of required size may be cut without waste. It will be found 
that four pieces each 12% x 19 inches can be cut from a sheet 25 x 38. 
When these pieces have been printed on one side, they are turned and 
printed on the other side, the pages having been so placed in the form 
that when turned and backed up and then cut in two, two complete 
folders are obtained from each 12% x Ig piece or eight from the 
original 25 x 38 sheet. Then by dividing the number of pieces required 
(5000), by the number obtained from each sheet (8), it is found that 
625 sheets, or one and one-fourth reams of paper are necessary for the 


LETTERPRESS PRINTING 407 


THe is ey 

an FX LE 
mes xe REL Le Ne 

ee L eho e868 1oe Cee SSE fee 


Line etching on zinc. Made from handwritten copy. 


Fig. 980. Ascertaining the number of smaller sheets that may 
be cut from a larger stock size sheet. 


folder. By multiplying the number of reams by the weight per ream 
of stock selected the number of pounds is obtained and then by 
multiplying the number of pounds by the price per pound the cost of 
the paper is ascertained. 

In card, blotter, sheet or folder printing it is seldom necessary to 
provide as much additional for trimming as here indicated, but this 
is about the usual amount allowed for catalog, magazine and book work. 

The same plan is followed in estimating the amount of stock 
required, whether it be for a smaller or larger job; and for catalogs or 
books requiring more than one sheet to make the complete book, the 
number of sheets required for one complete copy is simply multiplied 
by the number of complete copies in the edition. Covers, end sheets, 
inserts, etc., when used, are estimated in the same manner and to 
obtain the total cost of paper the results are added to the body stock 
cost. 

Often when the grain or pattern in a paper must run in the same 
direction in all, as is the case with some cover papers, a less number 
of usable pieces will be obtained from each stock sheet than if these 
features could be ignored. 


DoING SHEETS IHAT CUT WITH WASTE 


In cutting smaller sheets that are not exact multiples of the larger 
size from which they are cut, it is often necessary to deviate from the 
customary method of making straight cuts across the two dimensions 
of the large sheet, in order to get the greatest number of smaller sized 
pieces and to reduce the amount of waste to the minimum. The cus- 
tomary method of ascertaining the number of pieces to be obtained, 
is to find of which of the larger dimensions each of the smaller dimen- 
sions is a multiple, or nearest a multiple, the product of these being 
the number of pieces obtainable. This is illustrated in Fig. 980. 


Ye" LLL" Lp Lf 


SIX 11" 


EUX//| 


3 3’ 


Line etching on zinc. Made from pen drawing on which dimensions were handwritten. 


Fig. 981. Diagrams showing methods of cutting stock size sheets. 


408 COMMERCIAL ENGRAVING AND PRINTING 


If it is desired to ascertain the number of pieces 8 in. x II in. that can 
be obtained from a sheet 32 in. x 44 in., it is found to be even 16 as 
illustrated in A, but if the size of the small pieces are to be 8% x 11, by 
the same method, it is found that only 12 pieces are obtainable as shown 
in B, and the waste, or remainder of the original sheet, is of such size 
as will not permit cutting additional pieces of the required size from it. 
By transposing the smaller dimensions, as in C, while it is found that 
neither is a multiple of the larger dimension and that fewer pieces are 
obtained, the waste is of such a size as to permit obtaining from it 
four pieces. Diagrams showing the three methods of cutting are shown 


JINs1DE oR Pooy STeck 
x KG @ /O0.000 Cofaces, 32h3¢ cLhecs 
LE oe am emit 
FER es ee 16X DprIF pg 
CSD: oe If 3x kb 
| & four eos Z Bee 
: mn Lf XZ __ 
ep 33x 7S 7 x Ox Geilo 
mag om 40000+¢4 = 2-500 
ALaml By ose eee 


a6 
/ a ELM pa fy PoviicaleHFYo 500 
B378hbe- ) 4282 


C ove R STock 


/ OK SLI 

tain LIEGE 
ae, Ce ae ey IA SO OOCOFH# = 2500 
Sooo bev waste (lhe) Foo 
ae 9,700 


AEa7n22— 
Ser a My 
Rite By eb ep 
Line etching on zinc. Made from handwritten copy. 


Fig. 982. A method of ascertaining the amount of paper 
required for a catalog. 


in Fig. 981. While a plan of this kind may be followed in cutting small 
sheets, cards, etc., it is seldom practical when planning a booklet or 
catalog on account of requirements for folding and binding. Whenever 
a plan of this kind is used, due allowance must be made for trimming 
and also the fact must be kept in mind that each cut of the knife must 
be entirely across the pile being cut. 


ESTIMATING PAPER FOR CATALOG 


What amount of paper will be required for 10,000 copies of a 40- 
page catalog with cover; size of trimmed page inside 8 x 11% inches; 
cover extended 14 inch; bound to open the long way; inside stock to 
be basis 25 x 38—8o0 lb.; cover stock 23 x 33—95 lb.; inside pages to 
be printed in one color and cover in two colors and embossed? 


LETTERPRESS PRINTING 409 


By reference to Fig. 976 it is found that paper in stock size 33 x 46 
inches is best adapted to this page size, and by process A in Fig. 982 
it is found that 16 leaves of two pages each can be obtained from each 
stock size sheet, and that it will require 10,000 sheets for 32 pages of 
the catalog, which would be printed “sheetwise,”’ or with a 16 page 
form on each side. The remaining eight pages would be printed 
together, made up to print as a ‘work and turn” form, and when cut 
after printing will make two complete eight page signatures. If this 
form is imposed in the usual way, and margins for trimming are the 
same as for the 32 page signature, it will require 2500 sheets each 33 x 46 
inches as shown by process B, which added to the amount required 
for 32 pages, makes a total of 12,500 sheets. This does not take into 
consideration allowance for spoilage in printing and binding, which by 
reference to Fig. 983 will amount to 4%, or 500 sheets additional, 
making a total of 13,000 sheets, or 26 reams. By reference to the table 
of sizes and weights for book papers, it will be found that paper in size 
33 X 46 weighs 128 lbs. to the ream, if of the same substance weight 
basis as 25 x 38—8o lb., and that a total of 3328 Ibs. of paper will be 
required for the inside pages of this catalog. 

Each cover, when opened out and trimmed so as to provide for the 
Vg inch extension and the thickness of. the catalog, must be 163 x 113%, 
and it is found by process C that four sheets of this size may be cut 
from each stock size sheet measuring 23 x 33 inches, and that 2500 
stock sheets will be required for 10,000 covers. Adding 8% for the 
waste incident to printing in two colors, embossing and binding, or 200 
sheets, it is found that a total of 2700 sheets (5.4 reams) of cover paper 
are required for the job. 

The matter of probable spoilage must always be anticipated and 
sufficient extra stock ordered to cover this. The percentage of spoilage 
will run about as follows: 


One Each Extra 
Quantity Color Color Binding 

100 to 250 Copies 10 5 5 
2505007 500. 6 4 4 

500 to 1000 “ 5 2% 214% 
1000 to 5000 “ 4% 2% 2 
5000 to 10000“ 3% 2% 2 
Over 10000 =“ 2 es: 2 


Fig. 983. Estimated spoilage in the production of printed matter. 


It will be noted that the percentage of spoilage is much larger on 
small editions than on larger ones. This is because of the spoilage 
incident to makeready, registering, ink adjustment, etc., which oper- 
ations are practically the same whether the edition be large or small. 

It is generally understood among regular buyers of printing in large 
quantities that it is unfair to hold printers responsible for the delivery 
of the exact quantity ordered, owing to the difficulty of producing exact 
quantities. The custom is to allowa margin of ten per cent for over or 
short count, to be charged for or deducted at the rate for extra copies. 


Pages 401 to 416, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


410 COMMERCIAL ENGRAVING AND PRINTING 


MAKING THE LAYOUT OR DUMMY 


First it is understood, of course, that the size of any piece of flat 
printed matter, or the page size and the number of pages in a booklet 
or catalog, may be increased or diminished by the size of the type, 
illustrations or margins selected, and these features must be considered 
as well as the amount of text. In other words, the piece of printed 


matter can be built to accommodate the text and illustrations, or they 
can be adapted to the piece. 


rp 


vi ~~ 


=e 
ys 


ae 


( 


GENUINE SERVICE! 


A McDougall Kitchen Cabinet will do 
for you just what other modern appli- 


a central station from which all your 
kitchen work is managed. 


ances—the typewriter, the telephone, the 
dictaphone—do for men in business. 
Specifically, it 1s a time and labor saver 
daily Gives you the time to do the many 
things you have put off repeatedly. It 
is downright wasteful. you know, to 
spend two hours doing kitchen work 
that other women accomplish in an hour 
and a half, with the help of a McDougall. 
They have an extra hour or two every 
day for rest and pleasures. 


There are few kitchens which a Mc- 
Dougall can not improve in methods of 
doing the work and in appearance too. It 
is not a storage place for foods only but 


Let us demonstrate these points to you 
Our convenient pay 


Come in to-day 


ment plan permits you to own a Mc- 


Dougall easily 


The McDougall possesses every prac- 
tical utility device found on other cabi- 
nets, and the following exclusively pat- 
ented McDougall features beside 

The Auto-Front—a sanitary wood cur- 
tain that drops at the touch of your fin- 
ger 

Eight steel corner braces hold the cab- 
inet firm and resist the strains of mov- 
ing 

Shelves mortised into walls—not glued 

All joints tongued and grooved—not 
screwed into place. 


eke 


$2 a Week 


B. W. DENNIS 


Court House Square 


Outline halftone, 150 line. 


Made direct from the lay- 
out and reduced about one-half. 


Line etching on zinc. Made from a proof of the adver- 
tisement and reduced about one-half. 


Fig. 985. Reproduction of the 
completed advertisement. 


Fig. 984. Rough layout for an 
advertisement. 


If the work is to be a flat piece of printing, as, for instance, a card, 
folder, newspaper or magazine advertisement, or something of similar 
character, a ‘‘layout’”’ should be made. This is a rough draft to show 
the printer the plan for arrangement, display, etc. 

A carefully planned layout will save both time and money, for it 
gives a rough idea of how the finished work will look and eliminates 
the making of expensive changes later. 

In making the layout, first cut a card or sheet, or draw the exact 
outline, to indicate the actual size of the finished piece. Then deter- 
mine the margins wanted, drawing the lines for them lightly in their re- 
spective places. These lines will give the boundaries of the type page. 
If a border is wanted it should be indicated by either drawing a bit of 
it at one corner, or by noting in the margin that one is to be used. 


LETTERPRESS PRINTING All 


And in preparing the copy keep in mind that white space must be left 
between the border and text. Thus it is impossible to get within a 
border as much text as can be run without it. 


THE ILLUSTRATIONS 


The next step is the placing of the illustrations. Frequently the 
halftones, etchings, or other plates have been made previously for some 
other job or before the form and size of the present one was determined, 
and this sometimes makes it difficult to fit the plates in so as to give the 


Words per square inch Words in 1 in. 13 em Column 


Solid Leaded Solid Leaded 
5 Point 69 50 150 108 
6 Point 47 34 102 74 
meomt 38 27, 82 59 
Stott) 32 23 70 50 
9 Point 28 21 61 46 
10 Point 21 16 46 35 
II Point 17 14 a7 30 
12 Point 14 II 30 24 
Taeont  ) ert 9 24 20 
18 Point 7 6 15 re 


Fig. 986. Schedule for estimating space for body matter. 


best effect. It will almost always pay in such cases to order new plates 
of proper size to harmonize with the new layout rather than spoil the 
effect by using plates that are noticeably too large or too small. Proofs 
of the illustrations are pasted in the layout, or if the engravings have 
not been made their size, general appearance and location are indicated 
by rough drawing. The size and shape of the blocks, on which the 
engravings will be mounted, should be definitely known and indicated 
on the layout before typesetting begins, otherwise there may be extra 
expense for re-setting that part of the matter surrounding them. 

The headline is then drawn in roughly in about the size in which it 
is to be set. The subheads should be similarly placed in their respec- 
tive positions, care being taken not to display too many lines, as this 
has a tendency to weaken the effect as a whole. 

After penciling in the signature and other display lines, the bound- 
aries of the spaces in which the smaller type is to be set are indicated 
with light broken lines. These spaces are lettered A, bce, ete: and 
the copy to go in them is written on separate sheets and lettered to cor- 
respond. Care should be taken in preparing the copy to see that the 
display lines in the layout correspond with the display lines in the type- 
written copy and that the copy does not contain more words than will 
go into the allotted space. 


OTHER LAYOUT HELPS 


A very convenient form for laying out pages or forms is by the 
use of sheets that have been specially ruled with faint lines one pica 
apart both perpendicularly and horizontally. The units of size in the 


412 


ADVERTISING AN INVESTMENT 
A business built upon price alone has no 
insurance against the fire of competition. 
As an asset, the good will of such a business 
Fig. 987. One line centered. 


ADVERTISING AS 
AN INVESTMENT 
A business built upon price alone has no 
insurance against the fire of competition. 
As an asset, the good will of such a business 
Fig. 988. Two line staggered. 


ADVERTISING AS 

AN INVESTMENT 
A business built upon price alone has no 
insurance against the fire of competition. 
As an asset, the good will of such a business 
Fig. 989. Two line squared and centered. 


ADVERTISING AS 
AN INVESTMENT 


A business built upon price alone has no 
insurance against the fire of competition. 
As an asset, the good will of such a business 


Fig. 990. Two line box. 


ADVERTISING 
AS A PERMANENT 
INVESTMENT 
A business built upon price alone has no 
insurance against the fire of competition. 
As an asset, the good will of such a business 
Fig. 991. Three line centered. 


GOOD WILL ADVERTISING 
AS A PERMANENT 
INVESTMENT 
A business built upon price alone has no 
insurance against the fire of competition. 
As an asset, the good will of such a business 
Fig. 992. Three line inverted pyramid. 


ADVERTISING AS AN 
INVESTMENT 


BUILDER OF GOOD WILL 
INSURANCE 
A business built upon price alone has no 
insurance against the fire of competition. 
As an asset, the good will of such a business 
Fig. 993. Four deck. 


COMMERCIAL ENGRAVING AND PRINTING 


ADVERTISING AN INVESTMENT—A 
business built upon price alone has no 
insurance against the fire of competition. 
As an asset, the good will of such a business 


Fig. 994. Indented and run in. 


ADVERTISING AN INVESTMENT 
A business built upon price alone has 
no insurance against the fire of competi- 
tion. As an asset, the good will of such 
Fig. 995. One line side, 
text indented one side. 


ADVERTISING A business built upon 
AS AN price alone has no insur- 


INVESTMENT ance against the fire of 
competition. As an as- 


set, the good will of such 
Fig. 996. Marginal. 


ADVERTISING A business built upon 
AS AN price alone has no insur- 


INVESTMENT ance against the fire of 
competition. As an as- 


set, the good will of such a business is 
worth very little. As an investment, it is 
as hazardous as a horse race. It is neither 


Fig. 997. Three line side run in. 


ADVERTISING AS AN INVESTMENT 
AND BUILDER OF GOOD WILL 
INSURANCE.—AN ASSET ALL 

A business built upon price alone has no 
insurance against the fire of competition. 

As an asset, the good will of such a business 

Fig. 998. Hanging indention. 


insurance against the fire of competition. 
As an asset, the good will of such a business 
GOOD WILL INSURANCE 


is worth very little. As an investment, it 
is as hazardous as a horse race. It 1s 
neither a self-owned nor a self-controlled 


Fig. 999. Centered subhead. 


insurance against the fire of competition. 
As anasset, the good will of such a business 


(Continued on page 20) 
Fig. 1000. Continued centered. 


insurance against the fire of competition. 
Asan asset, the good will of such a business 
is worth very little. (Continued on page 20) 


Fig. 1001. Continued run in. 


Some types of headings commonly used in typesetting. 


LETTERPRESS PRINTING 413 


layout will then correspond with the unit of size used by the printer, 
thus the printer will be more easily able to shape the display, illustra- 
tions, and general make up to conform with the layout. Further, in 
making such a layout, problems that might confront the printer in an 
inaccurate layout will be avoided. 

For estimating the amount of space required for matter to be set in 
body type, a table is given in Fig. 986. 

The figures for leaded matter are based on the use of two-point 
leads between lines. 

As some styles of type are more condensed or expanded than others, 
there will be more or less deviation from this schedule. 

Ascertain the number of words in the matter to be set and divide by 
the number of words that can be set ina square inch of the type selected 
as shown in the table. With the total area in square inches it is an easy 
matter to arrange for the space or pages as required, and to determine 
whether smaller or larger type should be used or if the matter can be 
leaded. Due allowance must be made for headings and paragraphing 
and it is better to provide ample space than to crowd the matter. 

In making a catalog, book, or other large printed job it is usually 
worth the extra cost to have the printer set a page or part of a page in 
two or three different kinds of type or different sizes of type and from 
these make a selection before proceeding with the entire job. 

All copy for the text or body of any piece of printed matter should 
be furnished to the printer in typewritten form and written only on 
one side of the sheet. If more than one sheet the pages should be 
numbered consecutively. 

The spelling, capitalization, punctuation and paragraphing of copy 
should be done carefully, otherwise the printer may adopt a style of 
handling that will be unsatisfactory, thus making extra expense for 
changes after the matter is put into type. 


NUMBER OF LINES TO THE INCH 


The following table indicates the number of lines of type per column 
inch when set solid or with two-point lead between lines. 


Size Solid Leaded 
5 Point (pearl) 14 10 
haw agate) 13 9.5 
6 ‘‘  (nonpareil) I2 9 
8 ‘“‘ (brevier) 9 7 
10 ‘(long primer) 7 6 
T2 me DICA) 6 5 
ih ee 5 4.5 
18 4 3.5 


Fig. 1002. Lines of type to the inch. 


MAKING A DUMMY FOR BOOKLET OR CATALOG 


If the piece of printed matter is to be a booklet or catalog instead 
of a flat or folded piece, the rough preliminary copy is usually referred 
to asa “dummy” instead of a “layout.” 


414 


Fourscore and seven years ago, our fathers brought forth 
on this continent a new nation, conceived in liberty, and 
dedicated to the proposition that all men are created equal. 
Now we are engaged in a great civil war, testing whether 
that nation, or any nation so conceived and so dedicated 
can long endure. We are met on a great battlefield of that 
war. We have come to dedicate a portion of that field as 
a final resting-place for those who here gave their lives that 
ABCDEFGabcdefgA BCDEF Gabcdefg1234567890A BCDEFGH 

Fig. 1003. Four and one-half point 


on five point body—solid. 


Fourscore and seven years ago, our fathers brought 
forth on this continent a new nation, conceived in lib- 
erty, and dedicated to the proposition that all men are 
created equal. Now we are engaged in a great civil 
war, testing whether that nation, or any nation so 
conceived and so dedicated, can long endure. We are 
met on a great battlefield of that war. We have come 
to dedicate a portion of that field as a final resting- 
ABCDEFGabcdefg4A BCDEF Gabcdefg1234567ABCDEFG 


Fig. 1005. Five point solid. 


Fourscore and seven years ago, our fathers 
brought forth on this continent a new nation, con- 
ceived in liberty, and dedicated to the proposition 
that all men are created equal. Now we are en- 
gaged in a great civil war, testing whether that 
nation, or any nation so conceived and so dedicated, 
can long endure. We are met on a great battle- 
ABCDEFabcdefABCDE Fabcdef1234567 ABCDEFGH1 


Fig. 1007. Six point solid. 


Fourscore and seven years ago, our 
fathers brought forth on this continent a 
new nation, conceived in liberty, and dedi- 
cated to the proposition that all men are 
created equal. Now we are engaged in a 
ABCDEabecdeéA BC DEabcde1234567ABCDE 


Fig. 1009. Eight point solid. 


Fourscore and seven years ago, 
our fathers brought forth on this 
continent a new nation, conceived 
in liberty, and dedicated to the 
ABCDabed4 BC Dabcd12345674BcD 

Fig. 1011. Ten point solid. 


Fourscore and seven years 
ago, our fathers brought forth 
on this continent a new nation, 
conceived in liberty, and dedica- 
ABCDabed4 BC Dabcd1234AaBcp 

Fig. 1013. Eleven point solid. 


Fourscore and seven years 
ago, our fathers brought forth 
on this continent a new na- 
ABCabeA BCabc123845678 ABC 


Fig. 1015. Twelve point solid. 


COMMERCIAL ENGRAVING AND PRINTING 


Fourscore and seven years ago, our fathers brought forth 
on this continent a new nation, conceived in liberty, and 
dedicated to the proposition that all men are created equal. 
Now we are engaged in a great civil war, testing whether 
that nation, or any nation so conceived and so dedicated 
can long endure. We are met on a great battlefield of that 
ABCDEFGabedefgA BCD EF Gabcdefg1234567890ABCDEFGH 


Fig. 1004. Four and one-half point 
on five point body—leaded. 


Fourscore and seven years ago, our fathers brought 
forth on this continent a new nation, conceived in lib- 
erty, and dedicated to the proposition that all men are 
created equal. Now we are engaged in a great civil 
war, testing whether that nation, or any nation so 
conceived and so dedicated, can long endure. We are 
ABCDEFGabcdefg 4 BC DEF Gabcdefg1234567ABCDEFG 


Fig. 1006. Five point leaded. 


Fourscore and seven years ago, our fathers 
brought forth on this continent a new nation, con- 
ceived in liberty, and dedicated to the proposition 
that all men are created equal. Now we are en- 
gaged in a great civil war, testing whether that 
ABCDEFabcdef ABCDE Fabcdef 1234567 A BCDEFGHI 


Fig. 1008. Six point leaded. 


Fourscore and seven years ago, our 
fathers brought forth on this continent a 
new nation, conceived in liberty, and dedi- 
cated to the proposition that all men are 
ABCDEabcdedA BC DEabcde1234567ABCDE 

Fig. 1010. Eight point leaded. 


Fourscore and seven years ago, 
our fathers brought forth on this 
continent a new nation, conceived 
ABCDabecd4 BC Dabcd12345674 BCD 


Fig. 1012. Ten point leaded. 


Fourscore and seven years 
ago, our fathers brought forth 
on this continent a new nation, 


ABCDabedA BC Dabcd1234aBcp 
Fig. 1014. Eleven point leaded. 


Fourscore and seven years 
ago, our fathers brought forth 


on this continent a new na- 


ABCabecA BCabc12345678ABC 
Fig. 1016. Twelve point leaded. 


The most used sizes of body type. Monotyped in Modern No. 8. 
Two point leads used in the leaded matter. 


LETTERPRESS PRINTING Al5 


It is not essential that the dummy to be used in the preparation of 
the copy be made of the same stock as has been selected for the com- 
pleted job, and indeed when the dummy is to be subjected to much 
handling a strong uncoated book or writing paper should be used in its 
make up. Loose leaves in a ring binder are often used. The pages 
can be easily removed for obtaining the effect of Opposing pages, or 
for change in location. However, to ascertain the COMeCtECOStEOt 
mailing or to obtain in advance the general effect of the work as it will 
be when finished it is necessary to prepare the dummy from the same 
stock as will be used for the finished work. 


LAYING OUT THE PAGES 


After the size of the booklet or catalog has been determined, the 
next step is to lay out the pages, each page according to the same gen- 
eral principles mentioned for the laying out of a flat piece of printing, 


oeomee mand, 


Dealers i 


Outline halftone, 133 line. Made from an unretouched photograph. 


Fig. 1018. A customer’s rough pencil Suggestion for a folder (left) ; 
the designer’s dummy (center) and the completed piece (right). 


keeping in mind, however, that in a catalog or booklet the pages face 
each other, which makes it necessary to arrange the illustrations, dis- 
play lines, etc., on two opposing pages so that the combined effect will 
be a pleasing one. The principle mentioned in connection with balanc- 
ing the illustrations and type masses on a single page applies in the 
same way to the laying out of two opposing pages. 


SIZE OF TYPE PAGE AND MARGINS 


In making up dummy pages remember that type set solid can not 
be condensed into a smaller space than that shown by the proof with- 
out resetting; and the proper setting for heads, illustrations, titles, etc., 
will require some white space for proper display as well as the actual 
space occupied by the type. It is advisable to have too little rather 
than too much matter on the page. 

As a general rule the width of the type page should be two-thirds 
itslength. Another method of determining page lengths is to make the 
length such that the page will measure diagonally twice its width. 

If only small margins are possible, the page should be about cen- 


416 


ComMMERCIAL ENGRAVING AND PRINTING 


tered with a slight inclination toward the top and back. But when 
margins are reasonably ample, the page should be set liberally toward 
the top and back. These margins should be about the same; but the 
outer margin should be decidedly wider than the back margin and the 
bottom margin should show the greatest area of white space. — 

While on the printed page the center is horizontally the point of 
perfect balance, vertically it is not; thus in a title page the lettering 
should be grouped a little above the center. 

When the dummy is prepared, the pages should be numbered con- 


secutively, because, when the type is 
apart and given to several workmen. 


if the page numbers are omitted. 


It is advisable to turn all copy, 


being set, the dummy is often torn 
Parts may be misplaced or lost 


plates and instructions in to the 


printer at one time, but if the work is a book or a catalog with a large 
number of pages, the work may be started in advance of the final com- 
pletion of the copy by giving it to the printer in complete 8, 16, or 32 
page forms in regular order as they are to appear in the finished work. 


SELECTION OF TYPE 
Type faces are of five general classes; Roman, Italic, Soujit> ‘ 


Gothic, and Gert. 


The most used types for body matter are classed as Old Style 


Roman, characterized by its oblique serifs, 


and Modern Roman 


which may be distinguished by its straight serifs and thin hair lines. 
There are a large number of faces, each in the various sizes, belonging 
to each class, thus affording a wide range from which to make a choice. 


The best kind of originality is that 
which comes after a sound apprentice- 
ship; that which shall prove to be the 

abcdefghijklmnopqrstuvwxyz 
ABCDEFGHIJKLMNPRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 
$1234567890 


Fig. 1019. Old style Roman. 


The best kind of originality is that 
which comes after a sound apprentice- 
ship; that which shall prove to be the 

abedefghijklmnopqrstuvwxyz 
ABCDEFGHIJKLMNPRSTUVWXYZ 
ABCDEFGHIJKLMNOPQRSTUVWXYZ 
$1234567890 


Fig. 1020. Modern Roman. 


The selection of the type in which a piece of work is to be set is an 


important step because, while th 


e impression made by an advertise- 


ment is primarily due to its wording, the typography always has an 


effect which may or may not be in harmony with the thought in the 
text. In other words the selection of the type may strengthen the ap- 
peal made by the text or it may detract from it. 


In selecting the type faces in which a booklet, advertisement or 
other piece of sales literature is to be set there are four primary require- 
ments that must be observed. First—the type selected must be legi- 


ble; i. e., easy to read. Second—it must be suited in size to the space 
in which it is to be set—condensed type for a narrow column and nor- 
mal or extended type for a wide column, etc. Third—it must har- 
monize with the article advertised—a bold type for an iron or steel 
product and light face or dainty type for a confection or toilet article. 
Fourth—it must be properly set; i. e., the headings must be properly 


' LETTERPRESS PRINTING 417 


displayed, the margins of the proper width, and the whole page made 
to conform to the laws of effective contrast and balance. 

The style of type that is used by a majority of the magazines and 
newspapers has been found by experience to be the most legible and it 
is therefore the part-of wisdom not to stray far from these popular 
faces. Bold, heavy type may sometimes be used to catch the eye but 
a page set wholly in such type offends rather than pleases. Good typo- 
graphical effect can best be accomplished through contrast—contrast 
between the type and the white space, as well as contrast between the 
size and comparative heaviness of the type faces. Too many different 
faces of type on one page tend to confuse just as too fancy or illegible 
faces tend to tire the eye and discourage the reader. 

Legibility is, of course, also affected by the size of the type used and 
the manner in which the eye is required to follow it. Curved lines, 
tapering lines, vertical lines and other unusual arrangements are always 
more or less difficult to read and should be avoided. 

In body matter the size of the type used should determine the 
length of the line and 5% point should not be used in a line longer 
than 15 picas; 6 point in not more than 18 picas; 8 point in not more 
than 26 picas and Io point in not more than 36 picas. 

Small type when printed on a low grade of paper is not as legible 
as when printed on the better grades. 

The specimens shown on the following pages are all 12 point and are 
intended not only to represent some of the most commonly used faces, 
but also to aid in comparing or selecting special styles for special pur- 
poses, such as hand lettering, for quick reference when conferring with 
customers, etc. They are also intended to enable one to indicate his 
preference. In this case something similar may be used if it is impos- 
sible to furnish the style indicated, as it must be remembered that on 
account of the great number of different type faces in existence no 
printer will have all faces here shown, or if he has the face selected, he 
may not have the size wanted. Not all type faces in use are shown, as 
several faces which in detail are practically the same are made by 
different type foundries and are sold under different names. Also many 
of the faces are made in relative type faces but are not shown, such as 
wide, medium, bold, condensed, extra condensed, outlined, italic, con- 
densed title, bold extended, inlined, extended, etc. 

In making up the specimens shown, clippings of lines or paragraphs 
were taken from specimen sheets and other printed matter and these 
were arranged on cards alphabetically. A typewritten list of the titles 
was then made and this list monotyped. The type was then leaded to 
leave eighteen points between lines; was arranged in columns and 
press proofs were made. The specimen lines were then pasted in their 
respective places, and from this copy the line etchings on zinc were 
made. The initial following the title line indicates the name of the 
manufacturer of the type shown, ‘‘A’’ and ‘‘K”’ representing The 
American Type Founders Co., and ‘‘B”’ Barnhart Bros. & Spindler. 
The reproductions, of course, do not print as sharp and perfect as 
would the type had it been practical to use it. 


Pages 417 to 432, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


418 
DURABLE Printing 51 


Adstyle—B 


SPLENDID art so 


Adstyle, Black—B 


ROARED AND great 36 


Adstyle, Condensed—B 


PRINTERS FEEL good places 


Adstyle, Extra Cond.—B 


AHEAD OF TROOPS 78 


Adstyle, Headletter—B 


EMPLOYING a 78 


Adstyle, Italic—B 


ABOUT never 14 


Adstyle, Shaded—B 


ROB in 78 


Adstyle, Wide—B 


LENT Whose 56 


Adtype—A 


PRO ends 789 


Adtype, Italic—A 


OF THE job for 


Alfred Medium—B 


AMERICAN American as $12 


American, Extra Cond.—A 


ESS sing 45 


American, Italic—A 


BANK Cent 82 


Antique—B 


INDUCE is 90 


Antique, Bold—A 


FACES Type 123 


Antique, Cushing—A 


Hsiasss 


Antique, Extended—B 


STEAM fresh 43 


Antique, Lining Modern—B 


ORIENTAL for Ladies 56789 


Antique, Skeleton No. 55—B 


COPPER Observer 7870 


Archer, Lining—B 
SAND Bought 36 
Arno, No. 2—B 


Line etching on zinc. 


Fig. 


KEY Stolen-K 34 


Artline—K 


PET Mouse-K 25 


Ayer—K 


BOYS Play-K 12 


Ayer Italic—K 


GAME us 32 


Bard—B 


ENTEIRY 12 


Bard, Open—B 


CHECK Sneak 32 


Barnhart, Old Style—B 


OLD Hand-K 67 


Ben Franklin—K 


REPORT Made 90 


Bodoni—A 


RETURN Men 89 


Bodoni, Bold—A 


TYPE hands 456 


Bodoni, Bold Italic—A 


COMPO mats 123 


Bodoni, Bold Shaded—A 


SECURE Wire $123 


Bodoni, Book—A 


MENTION did 6789 


Bodoni, Book Italic—A 


EXPECTED 890 


Bodoni, Card—A 


SITE investigate 90 


Bodoni, Italic—A 


RATES June 890 


Bookman, Oldstyle—A 


PRINT Pro 45 


Boston Breton—A 


NEPHEW with 39 


Bullfinch, Oldstyle—A 


RIVERS of 79 


Cadillac—B 


NEVER Though 23 


Cadillac, Condensed—B 


VEST With 55 


Caledonian—B 


COMMERCIAL ENGRAVING AND PRINTING 


MODERN Disco s90 


Camelot, Oldstyle—A 


THOUGHT IN SELECTS 


Cardstyle—B 


BENT Rod-K 83 


Caslon, Adbola—K 


NO Pipe-K 46 


Caslon, Adbold Extended—K 


CHARITY Bazaars—K 80 


Caslon, Adbold Ex. Cond.—K 


DIG Deep-K 56 


Caslon, Bold—K 


GIRL Smiling—K 43 


Caslon, Bold Condensed—K 


BE Quick-K 38 


Caslon, Bold Italic—K 


REAL American 67 


Caslon, Condensed—A 


MUSICAL Invitations 456 


Caslon, Extra Condensed—A 


SUPREME in 67 


Caslon, Heavy—A 


REMARK Met 23 


Caslon, Lining—A 


FARMERS for 90 


Caslon, Lining Italic—A 


DESIRE With 789 


Caslon, New—A 


BUSY Scientist 890 


Caslon, New Italic—A 


PAYING Types 73 


Caslon, Old Roman—B 


FOR elegance is 89 


Caslon, Old Style, No. 471—A 


ADVERTISE in 9o 


Caslon, Old Style Italic—A 


GUARD Places 67 


Caslon, Recut—A 


AGROUND by 123 


Caslon, Recut Italic—A 


HORSES Sell 58 


Castor—B 


1021. Specimens of type styles. 


LETTERPRESS PRINTING 


SOLDIER in 84 


Catalog, Old Style—B 


Machinery 23 


Cathedral Text—A 


AB the course 90 


Caxton, Lin. Oldstyle No. 2—A 


fe S 82 


Celtic No. 1—B 


ASSEMBLY in 45 


Century, Bold—A 


BEAU Print 56 


Century, Bold Italic—A 


God entitle of 890 


Century, Expanded—A 


BIG Tent-K 62 


Charter Oak—K 


Public Weets Thirk 80 


Chaucer Text—A 


ACT Improve 890 


Cheltenham, Bold—A 


PERUSE Reveries 90 


Cheltenham, Bold Cond.—A 


COUSIN cord 45 


Cheltenham, Bold Italic—A 


CROFT classic 890 


Cheltenham, Italic—A 


CROFT classic 890 


Cheltenham, Old Style—A 


Magazine will be 56 


Cheltenham, Wide—A 


LETTERS12 


Chester, Title—B 


SEAL Cloaks an 86 


Clarendon, Lining Fr.—B 


COMPO results 890 


Cloister, Bold—A 


REQUIRED the890 


Cloister, Bold Italic—A 


PRODUCTIVE of 67 


Cloister, Italic—A 
PROGRESS have 890 
Cloister, Oldstyle—A 


Line etching on zinc. 


Fig. 


ORIGINAL ED 


Cloister, Title—A 


PET and 283 


Club—B 


FRESH IF39 


College, Title—B 


CARPET 58 


Concave, Lining—B 


IRON execution 789 


Cromwell—A 


ATE Various $189 


Della Robbia—A 


TIN men 128 


DeVinne, Bold—B 


WOMEN Staring 82 


DeVinne, Compressed—B 


MUSICAL Music of 890 


DeVinne, Ex. Compressed—B 


TINPrompt 35 


DeVinne, Inclined—B 


INHABIT Hen 67 


DeVinne, Lin. Italic No. 2—A 


Wire Finisher8&6 


DeVinne, Lining—B 


FACE paper 890 


DeVinne, Lining Open No. 2—A 


DOLLAR Shrub6 5 


Dewey, No. 5—B 


AVAN Per 36 


Doric, Lining—B 


TIN Buff 23 


Egyptian, Extended—B 


ROUTE Deep 57 


Elzevir, No. 5—B 


MOBILE Runabouts 123 


Elzevir, Condensed No. 50—B 


HEAR Them-K 72 


Encore—K 


HANDSOME Soldier—K 35 


Encore Condensed—K 


JUDGMENT 78 


Engravers, Bold—A 


419 
LATEHST 419 


Engravers Roman—B 


STORIES U62 


Engravers Roman, Cond.—B 


BEST 55 


Engravers Title, No. 7—B 


SEEDLESS Blank 86 


Fifteenth Century, Lining—B 


Printers Cppe 456 


Flemish Black—A 


RENT Outlay 73 


Florentine Bold—A 


THEATRE Quincy 890 


Florentine Bold, Ex. Cond.—A 


JOURNAL Elect men 


French Title—B 


PINK Hose-K 41 


Girard—K 


PROGRESS Universal 123 


Gothic, Alternate No. 1—A 


RELIEF FOODS 
Gothic, Bold Plate—B 


INDUSTRY OF 37 


Gothic, Circular No. 44—B 


DAY Looked Down 93 


Gothic, Degree No. 1—B 


NEATLY To 67 


Gothic, Franklin—A 


JUDGMENT in 678 


Gothic, Globe—A 


ONE ate 89 


Gothic, Globe Extended—A 


SPECIAL CARS 78 


Gothic, Lightface No. 45—B 


LIMBURGER CENT 
Gothic, Light Plate—B 


ONRAILROAD 75 


Gothic, Light Plate Cond.—B 


ABLE Public Has 63 


Gothic, Lining No. 60—B 


GAL Brave 98 


Gothic, Lining No. 82—B 


1022. Specimens of type styles. 


420 
SHOULD a 95 


Gothic, Lining No. 90—B 


MONEY Brokers by 297 


Gothic, Lining No. 117—B 


ARE Uniform Faces 1289 


Gothic, Lin. Cond. No. 529—A 


PATRONS Thought 56 


Gothic, Lin. Cond. No. 524—<A 


LETTER Line $123 


Gothic, L. Ronaldson No. 2—A 


MAN Spark 84 


Gothic, Modern—B 


WATER Specialty 1890 


Gothic, Modern Cond.—B 


AND Cent 35 


Gothic, Modern Italic—B 


MIXED 763 


Gothic, Modern Title—B 


DECEIVE A 12384 


Gothic, Outline No. 61—B 


HAVE DISCOVERED BATT 
Gothic, Plate Condensed—B 


IRON conditions 690 


Goudy, Italic—A 


SHED received 678 


Goudy, Oldstyle—A 
DESIGN 6734 
Goudy, Title—A 
LESS Children 90 


Grassett—A 


SOME day 92 


Guard—B 


PIANO Sale-K 85 


Harris Italic—K 


MEN Talked-K 70 


Harris Roman—K 
PAY Revolver503 
Hugo, No. 5—B 
TINY Ship-K 64 
Ivanhoe—K 
SENSIBLE Astron 890 
Jenson, Bold Condensed—A 


Line etching on zine. 


Fig. 


MACHINE Detail 234 


Jenson, Condensed—A 


SILK Ties-K 26 


John Hancock—K 


ROSE Gardens—-K 93 


John Hancock, Condensed—K 


I SatkK 24 


John Hancock, Extended—K 


WITH outshines far 


Kenilworth, Old Style—B 


Clay and Aoedelsf59 


Laclede, Lining No. 2—A 


HIGH Tide-K 53 


Laureate—K 
Wednesday I19 
Law Italic, No. 5—B 
OF Indenture 456 


Law Italic, Lining No. 522—B 


FACTS know 34 


Lightface Lining No. 558—A 


YOUTH age 90 


Litho, Antique—A 


BOOK in 90 


Litho, Bold—A 


PROSPECT PRINT 
Litho, Light Card—A 


DOCTORS In a 890 


Litho, Compressed—A 


SOLD Finished 89 


Litho, Condensed—A 


FOR The 67 


Litho, Gothic—A 


GOMPO in 45 


Litho, Light—A 


MOUNT of 456 


Litho, Light Gothic—A 


MERIT High 12 


Litho, Rimmed—A 


OF Gasual 890 


Litho, Roman—A 


COLDEST 890 


Litho, Title Condensed—A 


COMMERCIAL ENGRAVING AND PRINTING 


SEVENTH 490 


Litho, Title Roman—A 


Display Salore $123 


Livermore, Lining No. 2—A 


BIG Submarine-—K 60 


Lowell—K 


SEASON IN MAINE 789 


McCullagh, Lining No. 2—A 


Commerciale 456¢ 


Manhattan—A 


SUCCE 8 


Mayo, Lining—B 


GIGANTIC in 89 


Mazarin, Italic No. 5—B 


FLORAL Bands 20 


Merit—B 
THE Australians 29 
Mission—B 
BUILD Av 64 
Mode—B 
God entitle them 12 


Modern, No. 510—A 


LESS ving ful 8 


Modern, Title—B 


SALE in Boots at 86 


Monitor, No. 5—B 


CEFICIENT K9 


Nadall, Lining—B 


BRIGHT Light-K 38 


Niagara—K 


HAT Customer 58 


Old Roman, Bold—B 


GENERAL Camp 48 


Old Roman, Condensed—B 


Best Borders $123 


Old English, Engravers—A 


TESTS Gains 354 


Old Style, No. 1—B 


THE matter is 78 
Old Style, No. 70—B 


SPARKLING Stones OF 90 


Old Style, Condensed—B 


1023. Specimens of type styles. 


LETTERPRESS PRINTING 


EXHIBIT wil] 89 


Pabst, Italic—A 


JOINT Expend 78 


Pabst, Oldstyle—A 


BEAU Rarest 42 


Paragon—B 


NIGHT Music 88 


Paragon, Italic—B 


FUR Couch 92 


Pastel—B 


NIVAL tract 21 


Pastel, Bold—B 


PLEA Thousand 76 


Pastel, Condensed—B 


ENGINE Off 97 


Pastel, Lightface—B 


DENT gages [2 


Pastel, Open—B 


FAIRY Tale-K 92 


Paul Revere—K 


ALE Vaults-K 43 


Paul Revere Italic—K 


CHAR endure 90 


Pencraft, Old Style—B 


PERSED light 78 


Pencraft, Old Style Bold—B 


LION Chinese ad 


Pencraft, Old Style Italic—B 


MIST OF truth 2 


Pencraft, Shaded—B 


POSITION X 


Pencraft, Title—B 


Skaters Now at (2 


Plate Text, No. 4—B 


LET Silver 49 


Plymouth—B 


NOR leges 41 


Plymouth, Bold—B 
38 


PROB Several 


Plymouth, Condensed—B 


CORN pat 24 


Plymouth, Italic—B 
Line etching on zine. 


Fig 


MAID ProposeekerO 


Poor Richard—K 


SEEM Evil 98 


Post—B 


AND Best Ads 90 


Post, Condensed—B 


ALL Union G8 


Post, Lightface—B 


JNINUE (Creare? SIO 


Post, Monotone—A 


TIO wear 4567 


Post, Oldstyle Italic—A 


CIENCoatl2 


Post, Old Style Rom. No. 2—A 
SEASON on SOO 
Post, Open—B 
ONE Bun-K 20 


Powell—K 


NICE Box-K 83 


Powell Italic—K 


PUBLIC GOT 


Publicity—B 


LOUGHBY 32 


Racine, Lining—B 


SOME Text 12 


Regal, Lining Italic No. 2—A 


Point-Set work so 
Roman, No. 64—B 


Brilliant Ad 790 


Roundhand—A 


DESIGN Word45 


Roycroft—A 


LIGHT Ocean YO 


Roycroft, Open—A 
FORMAN 78 
Rugged Bold—A 
Pragressive Foundry 890 


Script, ‘‘Adscript’’—A 


Characteristics Y5O07 
Script, Bond—A 


Dank Clouds In 


Script, Hazlett—B 


42] 
Dowty howe ono 


Script, Lakeside—B 


SInwited) to Qlttend! at) 890 


Script, Pantagraph—B 


Barhest ALD 42 


Script, Premier—B 


Dia he? Delighted to 


Script, Stationers Semi—B 


Ceghth rnual al 7890 


Script, Tiffany Extended—A 


GAINS With 59 


Sheridan—B 


Grand Canyon 2735 


Sylvan Text—B 


SERIES FOR use in 90 


Tabard—A 


TAP Rooms48 


Talisman—B 


SEL Whe) 76) 7! 


Tasso—B 


Excellent Acco 4 
Tudor, Ne. 5—B 


fTHandsome 8&2 


Tudor, Bold—B 
Loan Association 7890 


Tudor, Text, No. 5—B 


Ieesiparneskel WSmiaeys, |4¥s) 
Typewriter, Elite—b 


Three lines 34 


Typewriter, Remington—B 


ETess proofs 
Typewriter, Ribbon-Face—A 


AT Ferdi 8 


Warren—B 


BE Amer Q 


Warren, Lightface—B 


Good Frisayp-K 15 


Washington Text—K 


Art Students—K 50 


Washington Text, Shaded —K 


BUSINESS Line63 


Wesel—B 


. 1024. Specimens of type styles. 


422 CoMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 


Fig. 1025. Data file and the typewritten copy. 


SYSTEM FOR HANDLING LARGE JOBS 


In producing a booklet, catalog, or book containing a consider- 
able number of pages, it is necessary to devise a system for the classifi- 
cation of material and data collected and the handling of it. This is 
not only necessary for the preparation of the copy but for the pur- 
pose of following the work through the various steps to completion. 

As the compilation and production of Commercial Engraving and 
Printing was a task of considerable magnitude, a description of the 
plan followed will be applicable as a practical suggestion. After the 
general plan of the book had been decided upon the outline was 
divided into sections or chapters, each of which was represented by 
one or several labeled pockets in a series of letter files, one of which is 
shown at the left in Fig. 1025. Memoranda in the way of notes, para- 
graphs, clippings, etc., were collected and filed under the different 
classifications from time to time, until the actual writing of the text 
began. Then the data for each subject was taken from the file, re- 
classified and the text written for that chapter; the final copy having 
been written on one side of 814 x 11 inch punched sheets for a ring 
binder as shown at right in Fig. 1025. 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 


Fig. 1026. Galley proofs and paged dummy. 


EG 425 -O 


LETTERPRESS PRINTING 4,23 


As the text for each of the chapters was completed the manuscript 
was monotyped and galley proofs submitted as shown at the left in 
Fig. 1026. These were corrected and with the revised proofs furnished 
the pages were dummied, again using one side of sheets for the ring 
binder as shown at right in Fig. 1026. Spaces were left for the illustra- 
tions and proofs of these were pasted in their respective places as 
they were finished. As soon as the dummy of the text pages, which 
was made up in four binders indexed by chapters, was complete the 
remaining engravings, beginning with the first chapters, were com- 
pleted and the proofs pasted in their respective places. The pages 
and illustrations were then given permanent numbers and the explana- 
oe notes written, also the final revision of text and additions were 
made. 


| hibjint Seabed 
[| wagon L 


re 
Soa 


ot 

Sean ee 

OE SP aes an, 
sees 
$ 


2508 


Outline halftone, 150 line. Made from aslightly retouched photograph. 
Fig. 1027. Record of pages, forms, subjects, etc. 


The type and plates were then made up into consecutive pages and 
proofs of the pages were submitted. After these were approved they 
were printed in forms of sixteen, and in some instances eight pages. 
Most of the forms were made up to print sheet-wise, sixteen pages on 
each side of the sheet, each was cut on the folding machine and 
folded into two 16-page signatures. All sheets were folded as soon 
after printing as they could be handled. 

A record as shown in Fig. 1027 was kept of the completed pages, 
chapters and forms and the placing of the different papers used in 
printing the book. 


GIVING THE ORDER TO THE PRINTER 


Now that the layout and copy have been finally revised and every 
detail has been definitely decided upon, the order is given to the printer 
selected to do the work. A written order should be given to him, com- 
plete in every detail, if the buyer is familiar with printing; otherwise 
the situation should be reversed and the printer should give the com- 
plete specifications to the customer, after receiving a general order, as 
by so doing misunderstandings will be avoided and the work will pro- 


424 COMMERCIAL ENGRAVING AND PRINTING 


Subject 
State whether card, letterhead, folder, booklet, catalog, etc. 


Number of copies 
Cost of extra copies if ordered before printing begins; cost of extra 
pages; allowance for shortage in count or overrun, fewer pages, etc. 


Size 
Size of piece including margins after trimming and size of the type 
or printed page. 


Stock 


Name of paper, stock size sheet, weight and color. If more than one 
kind is to be used in the job give specifications for the kind for in- 
side pages, kind for cover, end sheets, etc. 


Plates 
State who is to furnish the engravings, the kind, the number of them, 
size, etc. 


Copy 
State the approximate number of words; whether typewritten, long- 
hand or printed clippings; amount of tabulated matter, etc. 


Type 
State size of body type to be used, face, display, machine, electro- 
typing, etc. 

Finishing and Binding 7 
Folding, padding, enclosing, punching, scoring, perforating, ruling, 
numbering, tying, etc. Whether to open long or short way; saddle 
wire stitched, side stitched, sewed, etc. 


Covers 
State whether paper, board, cloth, leather, etc.; stiff, flexible, color, 
etc.; trimmed flush with inside pages, extended, etc. 


Ink 


State number of colors and colors to be used for the piece or for cover, 
inside, etc.; embossing, bronzing, slip sheeting, etc. 


Delivery 
Wrapped in packages, boxed, parcel post, express, freight, partial 
delivery, complete delivery, etc. 


Fig. 1028. Items to be specified when making 
up orders for printed matter. 


gress without unnecessary delay and expense. An order specifying all 
details will enable the printer to write his shop order completely before 
it begins its course through his establishment and the details being 
fresh in mind, there is less likelihood of error. It isa well-known fact 
that an order properly started in any manufacturing plant is well along 
on its way. Usually different parts of the work are done by different 
people or in different departments, the same order furnishing instruc- 
tions to all; hence a little time spent in making the order clear and com- 
plete will not only mean the saving of time, which means money to the 
customer as well as the printer, but will also avoid errors and assure 
continuous progress of the work even during the unexpected or en- 
forced absence of those most familiar with the job. 

The essential items to be specified when making up the specifica- 
tions for a printing order that is to be placed, or to be used in acknowl- 


LETTERPRESS PRINTING 425 


Previeus No. 


OATE ORDER ENTERED 


SADDLI 
Wineo 


| ce °.K. 
IDE RECEIVED 


Job Wanted 


= ae 
Blocking 
UPRIGHT 


Punching 
a res as 
a UPRIGHT 


Le as 
otal ae tpe 


a me 


Stitching LEGAL COMPOSING 
Paging 


FURTH 

HER 

INBTRUCTIO: 
ON PAGE al 


PRESSROOM 

BINDERY 

SHIPPING 
CLERK 


SHEETWISE 
WORK AND TUMBLE 
WORK AND swing 


To be completed 
schedule — |) LC 
seb ahotaeeee j—SeMrosina Room | 


Line etching on zinc. A line negative was made of the pen drawing of the outline and into this was stripped a line 
negative of the form made direct from the jacket. The shading machine was used on the print on metal to obtain the 


ruled effect at sides. 


Fig. 1029. One form of printer’s job ticket or jacket. 


edging the receipt of one, or to use in asking for a quotation, will be 
found in the list in Fig. 1028. Of course, no single job will involve all 
of these items, and only such of them as apply to the job under con- 
sideration need be used. 

While order forms vary in different printing establishments, the one 
reproduced illustrates most of the points on which definite instructions 
must be given. They are usually printed on the face of large strong 
envelopes, which also serve as holders of the copy, file proofs, etc. 

Pages 417 to 432, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 


Coated Paper Co., Hamilton, Ohio. 


426 COMMERCIAL ENGRAVING AND PRINTING 


A duplicate or abstract of the order, and bearing the same order 
number, is retained in the office while the detailed instructions accom- 
panies the work through the establishment and back to the office 
after the work has been delivered. As the job proceeds through the 
shop the time required for the several operations by the workmen 
is recorded on time slips which are turned in to the office daily and 
classified and recorded on the recapitulation sheet for the job. From 
the data thus or otherwise collected the bill for the job is rendered. 

The paper stock required for the job is ordered early from the job- 
ber, if it is not carried in stock by the printer, so that it may be on 
hand ready for use by the time the work is ready for the press. 

If the finished piece of work will require envelopes either of stand- 
ard stock size or made special, or other containers for mailing, these 
should be ordered at this time, that they may be in readiness for the 
work when finished. 

If the order calls for the use of stamped envelopes or postal cards, 
these should be purchased and given to the printer with the order for 
printing. 

COMPOSING ROOM OPERATIONS 


The work done in the composing room includes not only the actual 
setting of the type but, usually, the selection of the face or faces in 
which the job is to be set, if not indicated on the copy, as well as the 
proof reading, and the making up of the type into pages, then into a 
form, which is locked up in a chase ready for the press. 


TYRE 


In the early days of printing an entire page was engraved on a block 
of wood from which the impressions were taken. This method was suc- 
ceeded by the engraving of characters on separate wooden blocks, 
which could be assembled into the necessary forms. Then followed a 
crude form of metal type, which was continuously improved to its 
present highly developed efficiency. Notwithstanding the perfection 
attained in type making, most all ‘‘straight matter’’ type of the smaller 
sizes, and much of the display matter, is now set from the manuscript 
on machines, this method being much quicker than hand setting. It 
also gives a new, clean face for each job and makes unnecessary the 
use of worn type, and distribution by hand of the type into the cases 
after use as the machine set type, after being separated from the other 
material used in making up the form, is re-melted and the metal used 
over and over again. 

As hand composition affords greater latitude in setting display 
matter it is employed mostly for this class of work, although hand set 
body matter is often used for the smaller jobs, when change of adjust- 
ment of machines would involve a greater cost than the saving in cost 
between machine set and hand set matter; also in work where ex- 
clusiveness and individuality is sought through the use of special 
faces which are not available on the machines. 

Discrimination in the use of display type has brought forth an 
almost unlimited number of different faces, and the type founders from 
time to time bring out new faces to meet changing requirements. 


LETTERPRESS PRINTING 427 


HAIR-LINE 
NICK 


HEIGHT- 
TO PAPER 


RS SCe 


NECK 


GROOVE PIN-MARK SHOULDER 


Double print square halftone, 133 line, no line. Made from a slightly retouched photograph. The arrow lines were 
drawn on the proof from type of the lettering which was arranged separately for double printing. 


Fig. 1030. The several parts of a type. 


In designing a new face of type, each character is first drawn on an 
enlarged scale in order to obtain the correct proportion of thickness of 
stroke, length and weight of serif, etc., in order that the letters may 
retain the proper relation to each other and the original design be pre- 
served throughout. A curious fact is that certain variations are re- 
quired on account of optical illusions. If the characters were all made 
equal, they would appear unequal. The round ones must be made 
larger than those that are square, the lower case ‘‘t’’ must not be ver- 
tical or it will appear to lean back, etc. 

After the designing follows the making of matrices, which is done 
by engraving machines which transfer and cut the different characters 
on a piece of sheet brass. An automatic casting machine casts the in- 
dividual type from the matrix from the molten metal, and it is auto- 
matically rubbed, kerned, dressed and set up on long sticks. It is 
obvious that each operation in the making of type must be held abso- 
lutely to a high standard of accuracy to permit of the proper inter- 
change that will follow when the characters are used in combination 
not only with others of the same face and size, but with other faces and 
materials. 

An alloy of lead, antimony, tin and brass is used in making type, 
each of these metals contributing some necessary attribute, such as the 
proper consistency to make the metal flow freely while being cast, 
toughness, the property of hardening quickly and freedom from con- 
traction when hardening, etc. 

The founding of a new series or family of type is an undertaking of 
considerable magnitude, for not only must there be a large number of 
different sizes, generally from 5 or 6 point to 72 point, but there must 
be upper case, or capital letters, and lower case, or small letters, in both 
Roman and Italic for the body type. Usually there are also numerous 
variations from the basic design in each series, as ‘‘Condensed,”’ 
“Bold,” ‘ Extended,” ‘‘Shaded,”’ ‘‘Outline,” etc. 

A quantity of type is cast from each character, the amount depend- 
ing upon the popularity of the style being made. This is then sub- 


428 COMMERCIAL ENGRAVING AND PRINTING 


= == | rrr 


ifs 


hate HH 
HELE 
EEE § 


Line etchings on zinc. Made from black on white prints from wood engravings. 


Fig. 1031. California job case for type. Fig. 1032. Case for brass rules. 


divided into smaller quantities, which are assembled with proportion- 
ate quantities of each of the other characters, such as letters in capitals 
and lower case, figures, points, etc. Each assemblage is known as a 
font and it is sold to the printer in this way. 

There is not the same number of each character, but the font is 
made up by a scheme that has been worked out by experience, which 
provides a sufficient number of each character to meet all expected 
demands under ordinary circumstances. The small letter ‘‘e’’ is most 
frequently used, therefore there is a larger number of this letter in the 
font than any other, while such characters as ‘‘q’”’ and ‘‘x”’ are little 
used and the proportion of these is small. This will explain why the 
printer may run short of certain characters in certain jobs, and have 
to buy extra characters, which are commonly called ‘“‘sorts.”’ 


TYPE CASES 


When the package of new type from the founders reaches the prin- 
ter he “lays,”’ or distributes the characters of the font in a case, of 
which there are several kinds. There is a separate compartment in the 
case for each character. These compartments are of different sizes to 
accommodate the quantity of each character usually supplied with a 
font, and the compartments are arranged not alphabetically but in 


Outline halftones, 150 line. Made from retouched photographs. 
Fig. 1033. Makeup side. Fig. 1034. Job side. 
A type cabinet with working top. 


i) 
\o 


LETTERPRESS PRINTING 4. 


: UEUTTULTSOOOEEEUCOTAOOOOGOEEEEOUUOOOCEEETOUAOOOOOOEETOTOOOOOGUEEUEETOOOAOOOUEEEEUOOOEAN LL 


ummm M ME MIVA MM 


Ors 1012 14 60 Points 


1 Point 2 Point 3 Point 4 Point 6 Point 


12 Point 6 Point Parallel 


QDUUUEUDOATOAUAUOAEU OO ANAAVOAUAUOOUONUAULETEAT LEE 


= 


SSTUTELUEQDOQUVAGUOUOOAUVAQOAADOQDOAUOAQUOQUOOOOOOUOADEAUOOQUOOUOAUOOUOOOUOONOQNOQUAOUNOGNOOUNOOUENE 


Printed from an electrotype of the type form shown in Fig. 1047. 


=] 


Ir: 


Fig. 1035. Thickness of rule by points and comparative 
sizes of type 6 to 60 points. 


such order that those from which characters are most frequently taken 
are most convenient to the compositor. 

As these compartments are not labeled, one of the first problems 
for the apprentice is to “learn the case.’ Before the use of type setting 
machines became general, and the body type was hand set, it was the 
custom to use a pair of cases for a font of type, one being used for the 
upper case or capital letters, and the small capitals and the less fre- 
quently used characters, while the other was used for the lower case 
letters and the most frequently used characters. Now, however, most 
of the type to be hand set is used in job work and it is kept in a’ job.” 
case, which has a compartment for each character in a font. These 
cases are in the form of drawers and area part of a dust-proof cabinet, 
which may have an inclined top for holding galleys while making up 
job forms, pages, etc. 

THE POINT SYSTEM 


Type sizes are designated by a system, the unit of which is the 
point, which is .0138 in. or slightly less than 1/72 in. Thus the body of 
6 point type is commonly regarded as 6/72 of an inch thick, twelve lines 
to an inch; 12 point as 12/72 of an inch thick running six lines to the 
inch, etc. The actual printing face, as printed on the paper, does not 
necessarily occupy the full surface of the body, as there is more or less 
shoulder depending on the size and style of type. 

The point system is applied also in making all materials used in the 
setting of type and the making up of forms, such as leads, slugs, furni- 
ture (both metal and wood), reglet, brass rule, border, ornaments, 
spaces and quads, etc. This permits their being fitted together into a 
rigid and interchangeable form. 

The standard height for type, the distance from the surface on 
which its feet rest to the surface printing on the paper is .918 of an 


430 COMMERCIAL ENGRAVING AND PRINTING 


inch. All type, whether foundry cast or machine set, is of this height 
and all plates which are to be run with type must be mounted to this 
height. 

Although the point is the standard of measurement, the pica, 
which is the equivalent of 12 points or one sixth of an inch, is the most 
frequently used term in designating sizes in connection with forms, and 
printing equipment. Printers designate the length and width of a page 
or column by pica measurement; thus a page four inches wide by six 
inches high is spoken of as 24 x 36 picas. It is therefore a decided 
advantage to the printer if in ordering plates the measurement for the 
block be given in picas so that it will readily justify with other material. 

An em is a square of the body of the type under consideration; thus 
a I2 point em is 12 points in width and 12 points in height, or one 
pica high and one pica wide, which is equivalent to one sixth of an 
inch each way. While the word ‘‘em’’ usually has reference to a pica 
“em,’’ it is not always so meant. 


TYPE SIZES AND CHARACTERISTICS 


The body width of a type left to right will vary depending upon the 
size of the character that has been cast on it, excepting figures which 
are cast on a body of uniform width that they may be arranged in 
tabular form, also imitation typewriter type is cast in a uniform 
width. 

When a letter such as a lower case f or j projects over the side of the 
body on which it has been cast it is said to be a kerned letter, and 
to prevent such letters from breaking off, some of the combinations 
most frequently used are cast on one body, such as fi, fl, ff, fh and 
fl, these combinations being known as ligatures. Quite a number of 
the newer fonts of italic type have capital letters with ornamental pro- 
jections which are known as ‘‘swash letters.’ 

The most commonly used sizes of type are 6, 8, 10, 12, 14, 18, 24, 
30, 36, 48, 60 and 72 point. Type may also be obtained as small as 4 
point but very few offices carry smaller than 6 point because it is not 
profitable for any except those specializing in the setting of mail order 
advertisements to equip a plant with the small sizes, since they are 
little used for the general run of work. Type larger than 72 point is 
usually made on wood, and stock sizes run up to 100 line pica, or 1200 
point, which is equivalent to 16 2/3 inches. The larger sizes are sold 
by the letter and printers usually buy only very small fonts that will 
enable them to set a line or two, or in some of the larger sizes the 
characters required for the particular job in hand, as the expense of an 
equipment of all sizes and faces would be prohibitive, to say nothing of 
the vast amount of space required for storage. 

Mention of a type “‘face’”’ has reference to a certain style of letter, 
and each face is made in a number of sizes, all taken together being 
known as a series or family. Sizes up to 14 point are usually regarded 
as body type and the larger sizes as job or display type. The smaller 
sizes are, of course, often used in display matter, and the larger sizes 
are frequently used as body type in large work. 


LETTERPRESS PRINTING 431 


THE LINOTYPE 


The oldest typesetting machine now extensively used is the Lino- 
type, invented by Ottmar Mergenthaler, which casts the type in lines, 
or “slugs,’’ as they are commonly called. The machine is operated 
from one or more keyboards connected with one or more inclined 
receptacles called magazines, which contain the matrices of the one or 
more fontsin use. The matrix is a small piece of brass, varying in thick- 
ness with the width of the letter, on the edge of which is a die from 
which the letter is cast. The font is usually changed by simply chang- 
ing the magazine, but it may be changed by running out the matrices of 
one font and running in those of another. The models designed for job 
and display composition are usually equipped with two or more maga- 
zines, instantly removable from the front of the machine. The Model 
24 as shown in Fig. 1036 has a capacity of six different body sizes, ten 
different faces, 850 different characters—all instantly available di- 
rect from the keyboards and making it possible to set practically any 
combination of type faces from 5 point to 36 point. 

By a touch of a key the matrix of the character corresponding is 
released from a magazine channel and is caught by a traveling belt, 
by which it is carried to the assembling elevator, each character for the 
line including spaces between words being selected in the order in which 
it is to appear in the line. The spaces, or spacebands, are wedge- 
shaped and extensible. Corrections in the line of matrices are made by 
extracting and substituting. When a line of matrices and spacebands 
has been assembled, and the assembling elevator raised to the limit of 
its ascent, the line is carried to the left and lowered into position in 
front of the mould in which the slug is to be formed. A justification 
block rises and by affecting the spacebands in the line, causes the line 
to be spread to the limits of its width. The metal pot moves forward 
until the mouthpiece of the pot comes in contact with the rear of the 
mould. Then the pot plunger descends and forces molten metal into 
the mould and against the inner edges of the assembled matrices and 
spacebands—and the slug is formed. The disk on which the mould is 
seated revolves to the left, and the bottom of the slug passes over a 
knife which trims the slug to the proper type height. Later the slug is 
ejected from the mould, and on its way to the receiving galley, passes 
between two knives which trim the slug to the proper point thickness. 

After the line has been cast, the matrices are automatically carried 
to the upper end of the magazine, and through an ingenious arrange- 
ment of teeth, they find their way to their respective channels. The 
font of matrices like the font of type is made up on the plan or scheme 
of supplying numbers of characters in proportion to their probable use 
in ordinary work instead of the same number of each character. 

As many as three lines can be in movement at one time on the 
machine; that is, one line can be assembled while another is being cast 
and still another is being distributed. 

Composition as produced on the Linotype is used by practically all 
newspapers, and is also extensively used for magazine, book, and job 
work. Some of the advantages of its use being the speed with which 
matter can be set and the ease with which the slugs can be handled. 


432 COMMERCIAL ENGRAVING AND PRINTING 


There are several hundred styles of faces and sizes of Linotype 
matrices to select from, ranging in size from 5 point to 60 point and in 
practically all of the popular faces. 


THE MONOTYPE 


This machine was invented by Tolbert Lanston, and produces 
single types, cast in the order in which they are to be used as well as 
set in justified lines. It in reality consists of two machines—a perfo- 
rating machine with keyboard and the casting machine, both controlled 
by compressed air. 

There are 276 keys on the keyboard, including complete fonts of 
capitals, lower case, small capitals, italics, bold face figures, points, 
spaces, etc. These keys are arranged similarly to those on a typewriter, 
and provision is made for changing the mechanism of the keyboard to 
meet the requirements of special composition, but the keys are not 
changed for different classes of work. With each stroke of a key a 
paper ribbon about four inches wide, unwinding from one spool and re- 
winding on another, is perforated in such a way that it will control the 
matrix of the proper character in casting. A scale on the machine 
registers the body width size of each character as its key is struck and 
charges this to the predetermined length of line, which has been indi- 
cated by an index. As the end of the line is approached and the em- 
scale shows there is not room for the next word or syllable, another 
scale shows the number of spaces between words which may be varied 
in size to justify the line properly and indicates the keys the operator 
is to strike to produce this justification. 

The perforated spool of paper is then placed on the casting machine, 
it being unwound in casting in reverse order, 1. e., the last line perfo- 
rated on the perforating machine is the first one cast, the characters in 
the line being cast from right to left. The casting mechanism 1s con- 
trolled by air passing through the perforations in the paper as it runs 
over a rounded plate resembling the tracker board on a player piano. 
While there are only thirty-two air tubes, and punches for making the 
perforations, combinations of the perforations so manipulate the con- 
trol mechanism as to shift the matrix case so that any one of the 225 
characters it contains is brought to the mould at the instant the per- 
foration or the combination passes over the tube openings. 

The hot metal is forced from the melting pot through a nozzle to 
the mould and forced against the matrix of the character being cast, 
at the same time filling the mould for the body also. The metal is 
chilled instantly and the completed type is ejected by the carrier into 
the line in the galley, the lines advancing automatically to make way 
for those that follow. 

The substitution of one matrix case for another in the casting 
machine requires only a few moments and the moulds, which cast the 
body of the types at the same time the face is cast in the matrix, can 
be changed quickly. All sizes from 5 point up to and including 18 point 
and any measure up to 60 picas are set in this manner, while larger 
sizes up to 36 point, and leads, quads, rules, borders, etc., for general 
use, are cast from individual matrices on the caster. 


LETTERPRESS PRINTING A33 


Square halftone, 150 line, no line. Made from retouched photographs. The separate halftone negatives were 
stripped together and the white lines between views were cut in the plate. 


Fig. 1036B. Linotype Model 14 and Model 24, manner in which matrices are 
circulated, space band, line of two letter matrices with space 
bands, and a group of Linotype slugs. 


To change faces on the Monotype it is not necessary to change the 
keyboard if the new face to be used is the same size and the same point 
set as that which was previously set. The only change necessary is 


434 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 133 line, no line. Made from photographs of retouched photographs. The two halftone negatives 
were stripped together and the white line between the views was cut in the plate. 


Fig. 1037. The Monotype keyboard and composing or casting machine. 


io halftone, 133 line, no line. Made from a slightly retouched photograph. The objects are about one-fourth 
actual size. 


Fig. 1038. Some special features of the Monotype system. The spool 
of paper ribbon, the matrix case, a matrix as used for casting 
display letters, etc., and Monotype cast type. — 


LETTERPRESS PRINTING 435 


that of the matrix case before casting the type. To change to larger or 
smaller size or to a different point set, it may be necessary to change 
the keyboard. This depends upon the kind of work called for by the 
change; and adjustment of the mechanism of the keyboard machine 
will be required as well as a change of matrix case on the casting 
machine. 

Monotype composition is used largely for the better class of catalog, 
book and magazine work—also in many newspaper offices for casting 
the display type for advertisements. It may interest the reader to 
know that the text for COMMERCIAL ENGRAVING AND PRINTING is en- 


Fig. 1039 is an outline-vignette halftone, 133 line. Fig. 1040 is an outline halftone, 133 line. Made from retouched 
photographs. 


Fig. 1039. Model C. three Fig. 1040B. The Model 3 
magazine, Intertype Linograph 


tirely Monotype set. It is especially efficient for tabular matter— 
typesetting which is divided into columns and between which rules 
are to be inserted. 

The caster may also be used to cast type for hand composition 
and for correcting the machine set matter and also for casting display 
type for job composition as well as strip rules, leads and slugs. 


THE INTERTYPE 


In its essential features the Intertype resembles the Linotype ma- 
chine invented by Ottmar Merganthaler, casting lines or ‘‘slugs’’ of 
type instead of individual types such as are used for hand composition. 
The keyboard is exactly the same as that used on other line-casting 
machines, and special keyboard arrangements are furnished for head- 
letters, large advertising figures, foreign language and other special 


Pages 433 to 448, inclusive, are printed on 25x88—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


436 COMMERCIAL ENGRAVING AND PRINTING 


composition. All Intertypes are two letter machines, handling face 
sizes from 5 point text up to full width 36 point bold and 60 point bold 
condensed caps on slugs up to 30 or 42 ems wide. 

Among the details in which the Intertype differs from other ma- 
chines of its class are the escapement mechanism which releases the 
matrices in the magazine; the method of regulating the knives which 
trim the sides of the slugs; a larger metal pot; and the special feature 
of its complete standardization, whereby all models are freely inter- 
changeable from one to another. 

Side magazine units are furnished for any model, these units carry- 
ing either one or three small magazines for head-letter faces, adver- 
tising figures, accents, or any special character matrices required. 
Such characters can be mixed in the same line with the characters from 
the regular magazines. 


THE LINOGRAPH 


This is also a line casting machine and will cast lines of any length 
from 4 up to 30 pica ems and face sizes from 5% to 24 point. Special 
matrices are furnished for casting display figures, borders and orna- 
ments of sizes up to 24 point, and block and slides are furnished for 
casting rule borders in 30 pica lengths. 

In operation it is similar to other line casting machines and among 
the special features claimed for it are simplicity of construction; only 
one transfer of matrices on their way from the elevator to the dis- 
tributor; separation of space bands from matrices during transfer; 
lightness of magazine and ease with which it may be changed and the 
low quad line which permits the letters or characters to stand up from 
the slug, thus eliminating much of the possibility of smutting when 
printing forms containing large blank spaces. 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1041. Ludlow Typograph casting machines. 
Special matrix cabinets at left. 


LETTERPRESS PRINTING 437 


Square halftone, 133 line, no line. Made from a slightly retouched photograph with background painted in. 


Fig. 1042. Line of Ludlow Typograph matrices in composing stick ready 
for casting; a cast of the line with overhang, and a matrix. 


THE LUDLOW TYPOGRAPH 


This is a complete and simplified system for producing display 
type-face composition, covering a range of sizes from 6 to 60 point, 
slug spacing material, art and plain rule borders. 

The equipment consists of a machine for hot-metal casting, solid 
brass matrices arranged in fonts for moulding typefaces and special 
cabinets for holding matrices. 

To produce typeface composition the matrices are assembled by 
hand in a special composing stick, and the line justified with brass 
spaces, taken from one set that is used with all typeface matrices 
regardless of size. The line of justified matrices is locked in the stick 
by tightening a thumbscrew, and lines have the same flexibility in 
arrangement as offered under the old method of single types. 

To cast a typeface slug, the stick is locked into casting position on 
the machine and hot metal forced into the matrices through a mould, 
forming the typeface line on a slug with a six or twelve point body. 
After the cast is made, or as many as needed, the matrices are returned 
to the cabinets and are then available for use on other composition. 

Any length of line and all styles and sizes of typefaces are cast 
from the twelve point mould without machine changes. Typeface lines 
over twelve point are cast with an equal overhang on either side of the 
slug. This T-shaped slug is built up solid in the form to withstand 
pressure by using low blank slug underpinning, which is automatically 
cast on the same machine. When composing typefaces smaller than 
twelve point to print solid, a six point mould is used. 


438 COMMERCIAL ENGRAVING AND PRINTING 


_ Square halftone, 133 line, no line. Made from retouched photographs. The separate halftone negatives were 
stripped together and the white lines between the views were cut in the plate. 


Fig. 1043B. The Thompson type, lead and rule caster. 


This system provides an unlimited supply of new material with new 
typefaces for all composition and without the storage of single types, or 
the loss of time looking for sorts or picking them from other forms. It 
is used by hand compositors and is designed for use in the composing 
rooms of commercial printers, newspapers, private printing plants and 
by tag, box and envelope manufacturers. 


THE THOMPSON TYPE, LEAD AND RULE CASTER 


A machine for casting type 5 to 48 point, quads, spaces, borders 
and leads, slugs and rules cut to any desired length automatically, 
is shown at the left in Fig. 1043B. This machine is adapted for use in 
printing offices of all sizes and particularly where non-distribution 
systems are used. The different sizes are obtained by changing mould 
body pieces to the size required and a matrix of the character to be 
cast is then placed in the matrix holder and the holder attached to the 
machine. The changes are made in about one minute. With each 
revolution of the machine the pump plunger forces hot metal into the 
mould where it hardens almost instantly by the use of a water cooling 
device; the mould body then moves forward, pushing the type out 
through receiving blocks where it is trimmed and the jet removed, as 
shown in lower right of group. Eight to one hundred and fifty casts 
per minute may be had, the smaller sizes being cast more rapidly than 
the larger ones. A separate mould is used for casting leads, slugs, 
and rules as shown in upper right of group. They are not cast in the 
mould itself, but in a body piece inserted in the mould. 


LETTERPRESS PRINTING 439 


TRADE COMPOSITION PLANTS 


Offices that are not equipped for doing their own machine composi- 
tion are able to obtain it from “‘trade shops” which do composition for 
the trade. Such shops specialize in the one kind of work, some of them 
making up the forms ready for printing or electrotyping if wanted, and 
many operate in “‘shifts,”’ twenty-four hours a day, so that many 
printers find it more convenient and less expensive to have certain com- 
position done outside their own place than to do it within. 


SETTING TYPE—-HAND COMPOSITION 


The copy when taken in hand by the foreman of the composing 
room, if not previously marked, is marked for size and style of type, 
and measure (length of line) and handed to the compositor, who is the 
man who really sets the type. | 

If it is a job of any size, or if it is to be finished in short time, the 
copy is divided into “‘takes”’ so that several men may work on different 
parts of the same job, and the several parts after being set are assem- 
bled to form the complete work. Or if the work is largely ‘‘straight 
matter,’’ that is, copy to be set uniform in one kind of type, such mat- 
ter is usually separated and is set by machine, while the display part 
is set by hand, and all composition is then assembled by hand when 
finished. 

In setting type by hand the compositor first sets the composing 
stick to the measure or length of line to be set. The “‘stick’’ as it is 
commonly called, is a metal tray or receptacle held in the hand and used 
for arranging type by words and lines as it is taken from the case one 
character at a time. One side of the stick is open and one end is 
adjustable to permit changes in length of line in different jobs. 

In the operation of printing the form is reversed, that is, that which 
is at the right in the page of type will when printed be at the left of 
the printed page, thus the type must be set so that it reads from right 
to left in the type. 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1044. Composing stick and composing rule as held while setting type. 


AAO COMMERCIAL ENGRAVING AND PRINTING 


“ft TYPE ’ /T — ~— 4 
/ HAIR SPACE { : : 
HIGH SPACE 5 TO EM SPACE EN QUAD 


LOW SPACE 4 TO EM SPACE 
3TO EM SPACE EM QUAD 2-EM QUAD 3-EM QUAD 


Double print square halftone, 133 line, no line. Made from a slightly retouched photograph. The arrow lines were 
drawn on the proof from type of the lettering which was arranged separately for double printing. 


Fig. 1045. Sizes of spaces and quads. 


With the copy on the case before him the compositor now begins to 
put it in type, taking the types from the cases—capitals, lower case, 
small caps, italics, figures or points, as the punctuation marks are 
called, and other characters—one by one in the order in which they 
appear in the copy. A composing rule, which is a piece of type high 
steel or brass of the same length as line being set and with projecting 
upper corners, is placed in the stick to facilitate the placing and hand- 
ling of the type. It is kept between the line just finished and the one 
under construction. 

The nicks on the lower side of the body of the type are to make it 
possible for the compositor to get all of the characters right side up 
through the sense of touch when each character is put into the stick 
and as the types are held in place by the thumb. They are also de- 
signed to make it more easy to distinguish wrong font characters, as 
the nicks are placed in different positions to indicate different fonts. 


SPACES AND QUADS 


After each word is completed, a space—a low type without printing 
face and one third as wide as one em of the size being set,—is inserted, 
unless it be at the end of the line. When the line is approximately full, 
it is justified by the insertion of wider or thinner spaces between words 
and, often with thin spaces between letters when the line is short, 
until it just fits the stick. The wider spaces are known as en quads, two 
of which make an em, and the thinner as 4-to-em, 5-to-em and hair 
spaces. 

The proper spacing and justifying of type is an important factor in 
composition and the judgment displayed by a compositor in the justi- 
fying of his lines is as important as his speed and accuracy, if not more 
important in determining his rank in the craft. This is not merely the 
insertion of uniform spaces to fill the line. For instance, the space 
between a word ending with an ascender and one beginning with one— 
as the words “‘will’’ and “‘have,’’ would require more space than should 
be between a word ending with a round letter and another beginning 
with one, as “‘line’’ and ‘‘was.”’ It is the discriminating taste in the 
spacing and justifying that classifies the work as to quality. The fine 
effects to be obtained by expert compositors are urged as one of the 


LETTERPRESS PRINTING 4A] 


Square halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were stripped 
together and the white line between the views was cut in the plate. 


Fig. 1046. Type on a job galley (left) and manner of lifting type 
from the composing stick (right). 


strong points of the superiority claimed for hand composition over that 
done on a machine, although the versatility of the machine in spacing 
makes it possible for the expert machine operator to produce quality 
above the ordinary in this respect. 

Short lines are filled out with quads, which are merely wide spaces, 
in three sizes which are designated as t-em, 2-em, and 3-em quads, 
being one, two and three ems wide, respectively. Leaders, which are 
horizontal rows of hyphens or dots, are used to fill lines where the eye 
is to be guided across the page or column. 


LEADS AND SLUGS 


If the type lines are to be spread further apart than they would 
print if set solid, the type is leaded by placing between the lines a strip 
of lead usually two points thick and of the same height as the spaces 
and quads. Leads may be obtained in any thickness from one to four 
points. Leads thicker than four points are known as slugs, and these, 
mostly six to twelve point, are used for spacing out between display 
lines, at the head or feet of columns or for building out to any desired 
size matter that has been set. 


ASSEMBLING COMPOSED TYPE 


When the composing stick has been filled with lines, the type is 
lifted out and placed on a galley, which is a tray of brass with one end 
open, in which the different ‘‘takes’”’ of hand or machine composition 
are assembled in their proper arrangement. If more than one galley is 
necessary a line of type is set for the head of each, showing the job 
number, the name of the customer and the number of the galley. The 
galley of unfinished composition is usually kept in an inclined position, 
the type leaning against the lower edge and closed end of the galley to 
keep the type from falling over or becoming “‘pied.”’ 


Pages 433 to 448, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


442 COMMERCIAL ENGRAVING AND PRINTING 


Outline halftone, 133 line. Made from a slightly retouched photograph. 
Fig. 1047. A type form. 


The plates for small illustrations are handled as type and are set 
in their place and justified with the type, leads, etc., in the composing 
stick. When setting a large form or page the compositor first decides 
upon the measurements for the different sections to be set, and if there 
are plates to be used in connection they are measured, and proper 
provision made for them in the layout. The type is then set for each 
section as though it was a separate job, but keeping in mind, of course, 
the fact that the form to be assembled must properly harmonize. As 
the sections are completed they are assembled into their proper places 
in the form on the galley or imposing stone. 

In Fig. 1047 is shown a form in which may be seen, in original size, 
the face of a type border, type, brass rule, slugs, leads, quads and 
spaces, and how on account of the point system, the different materials 
have been readily fitted together and aligned in the form. Also the 
manner of surrounding the form with slugs and tying with string so 
that it could be handled. An electrotype from this form was used in 
printing Fig. 1035. 

PROOF 


After the composition has been completed, or after a galley has 
been filled, the type is held in place by a slug at the foot and by reglets, 
narrow strips of wood furniture, or furniture locked in at the sides, 
while the type is inked and a proof or print is taken on a sheet of thin 
soft paper. Or, if the type being set is for job work, or if it makes less 
than a galley the form is tied up by passing a string several times around 
the form and in such a manner as to hold the type together firmly, 
after which a proof is made. This may be made with a planer and mal- 
let or on a proof press, one type of which is shown in Fig. 1048. The 


LETTERPRESS PRINTING 443 


Square halftone, 133 line, with line. Made from retouched photographs. The halftone negatives were stripped 
together and the white line between the views and inside of border line were cut in the plate. 


Fig. 1048. Method of taking galley, form or page proofs (left) 
and a Potter proof press (right). 


galley, or form, is placed on the bed of the press and inked with a hand 
roller. The sheet of paper is fed to the grippers on the cylinder and then 
by a turn of the cylinder the impression is made as the form travels 
under it. A stone or beaten proof is made by inking the form, with a 
hand roller, after it has been placed on the imposing stone, then after 
the paper has been placed on the form the impression is made by tap- 
ping lightly with a mallet a planer as it is passed over it. The face of 
the planer is covered with felt and the operation is similar to planing 
the form as illustrated in Fig. 1056. 

This first proof is now read by the proof-reader and the corrections 
are noted on the margins, after which the compositor makes the cor- 
rections as noted on the marked proof. 


Outline halftones, 150 line. Made from retouched photographs. 


Fig. 1049. Stand for the Fig. 1050. Imposing table with storage 
storage of galleys. boards for made up pages, etc. 


444 


Another proof called a ‘“‘revise’”’ is then made if necessary and 
submitted for approval before the matter is made up into a form or 
pages. If further proofs are made they are called “second revise,” 
‘third revise,’’ etc. 

The proofs are made on paper with ample margins on each side for 
indicating corrections, and in making these corrections a system of 
symbols has come into general use which simplifies the task very much 
and also tends to eliminate the possibility of misunderstandings. 

The best printers and publishing houses have what they term an 
office style which they apply to all work unless otherwise instructed. 
For illustration: The names of months are always spelled out in full, 
er is used in diameter, center, theater, etc. Periods are omitted after 
nicknames. Italics are used for 7. é., e. g., viz. Short words must have 
the same amount of space on each side. Words pronounced as one 
syllable are never divided at the end of a line. Th, st and d are omitted 
in dates where the year is given. Today, tomorrow and tonight are 
written as one word, and a. m., p. m. in lower case letters. Title abbre- 
viations are spelled out when they do not precede the full name, as 
Doctor Jones, or abbreviated when they precede the full name, as Dr. 
Henry Jones, etc. 

It is customary to make an additional charge for alterations in 
proofs submitted when they are made to differ from copy or original 
instructions. Also an extra charge is usually made for press proofs un- 
less the customer can be present when the form is made ready on the 
press, so that no press time will be lost. It is only fair that presses 


COMMERCIAL ENGRAVING AND PRINTING 


mal Large initial letter. 


<> Take out all spacing. 
~~ Contract spacing. 
C) Reverse turned letter 
G][ New paragraph where marked. 
Wor FT No paragraph here. 
JC Move to right or left. 
= Move up or down. 
lead Insert lead. 
he Insert space between words. 
ig + Correct uneven spacing. 
X Change this imperfect letter. 
fff Ligature instead of separate letters. 


Atak Change to italics; also indicated by 
——— under word. 

Change to small caps; also indicated by 
LmNL under word. 


cafes Change to capitals; also indicated by 


under word. 
howm Change to Roman type. 
Change to bold face. 


Change type, wrong font. 
O Spell out abbreviation or numeral. 


Q/ Change letter as indicated. 
AM Transpose letters or words. 
ke Put in lower case type. 
f Delete mark, take out. 

alk Push down space. 


..ses Retain this word, ‘‘stet’’ being usually 
written in the margin. 


MU Straighten lines. 
(.] Indent one em. 
y/ Insert comma. 
©/ Insert period. 

yf Insert hyphen. 

ee V/ Insert apostrophe. 

V W Insert quotation marks, 
L MA (7 Insert brackets. 
2am/insert one-em dash. 

zam/ Insert two-em dash. 

fey, Insert en dash. 

©) Insert colon. 
5] Insert semicolon. 
A Make corrections indicated in margin. 


(2) Query to author. 


Line etching on zinc. The lettering and characters were written and drawn on a proof of the type matter and the 


etching was made from this combination copy. 


Fig. 1051. Proof-reader’s marks. 


LETTERPRESS PRINTING AAS: 


standing idle awaiting an O. K. from a customer be charged for at reg- 
ular production hour rates. When proofs have been submitted the cus- 
tomer should promptly examine, make corrections if any, mark “O. 
K.” or “O. K. with corrections,” sign with full name, to show that the 
proof has been approved by the one duly authorized, and return both 
the proof and the copy. 

The setting of tabular matter, such as columns of figures, whether 


the combination copy. 


en REDUCING COSTS 
smu ~a yery simple, yet effective, 


way of_cutting down printing 
C costs.is to exercise proper care in 


2 the preparftion of copy. Chajlges ay 


in the text should be made while 


it isin the manuscript form, not. Lad! 


aft® it is in type and galley 
proofs submitted. , Quite often va 
what seems to be a _ simple 
# change a entails aconsiderable 
_espense/ for illustration/ the s/ ¢ 


X~Addition of one short word, or the AGM 
. . - tins: 
substitution of a longer one, may Sy 


66 99 — 
V V necessitate the,running over, or 


resetting of all that prtion of the 9 
— paragraph following the change, 

7 before sufficient space be found, 
a! is an error to attempt to ex- 
pedite the delivery of YOUR ke 
printed matter byy rushing un- 
revised copy into the hands of 


Jes the printer,the more time de- 


voted to proper preparation, the 
less required for eee { 
tions and avoidable defays. ae 
Records show that jon an aver- »/ 
Lh age, thefislcompositor,responsible 
@® for only % per cent. of the errors 
in proofs, the other ninety, seven =/ 
per cent. coming as a result of 
$m. @ changes from original copy. eat 
Uc CTRe customer sometimes ques : 
tions the justness of the printers 
extrg charges, but mény of these &/ 
Jf are for changes and_ revisions 
made necessa@fy on account of WU 
hurriedly and improper prepared 
copy. 


Fig. 1052 is a line etching on zinc. 


Fig. 1052. Proof marked with 
proof-reader’s marks. 


i Cafes Le 


Reducing Costs 
VERY simple, yet effective, 
way of cutting down printing 

Costs is to exercise proper care in 
the preparation of copy. Changes 
in the text should be made while 
it is in the manuscript form, not 
after it is in type and galley 
proofs submitted. 

Quite often what seems to be 
a simple change entails consid- 
erable expense; for illustration: 
the addition of one short word, 
or the substitution of a longer 
one, may necessitate the ‘“‘run- 
ning over”’ or resetting of all that 
portion of the paragraph follow- 
ing the change before sufficient 
space be found. 

It is an error to attempt to 
expedite the delivery of your 
printed matter by rushing unre- 
vised copy into the hands of the 
printer—the more time devoted 
to proper preparation, the less 
required for costly corrections 
and avoidable delays. 

Records show that, on an aver- 
age, the compositor is responsible 
for only three per cent. of the 
errors in proofs, the other ninety- 
seven per cent. coming asa result 
of CHANGES from original copy. 
The customer sometimes ques- 
tions the justness of the printer’s 
extra charges, but many of these 
are for changes and revisions 
made necessary on account of 
hurriedly prepared copy. 


The marks were drawn on a proof of the type matter and the etching made from 
Fig. 1053 was printed from a wax mould electrotype made from the type. 


Fig. 1053. Proof of corrected 
matter. 


44.6 COMMERCIAL ENGRAVING AND PRINTING 


hand or machine set, also matter running line for line with copy or any 
other class of composition requiring special style, spacing or justifica- 
tion involves an extra cost over that charged for straight matter; also 
setting ‘‘side heads,” which are titles run in indentions at the side of 
body matter, instead of centered over it. 


MAKING UP 


As soon as the corrections as indicated on the proof have been 
made, the type is made up into pages or forms, as the case may require. 
The proof for folders, booklets, catalogs, and other publications when 
made up of considerable matter is usually cut and made up into a 
dummy as a guide for the makeup man to follow. The proof, when 
trimmed and made into a dummy, should be carefully marked with 
the galley numbers that the compositor may have no difficulty in 
locating the material in case there are several galleys. 

The page or small form is made up ona wide galley, known as a job 
galley, which has been placed on a stand or rack in an inclined position, 
and after the form has been completed it is tied up with string or a 
special tying device and slid off on the imposing stone. 

The page, or form, is again inked and a page proof is taken while 
the form is still on the galley, or, a ‘‘stone proof”? may be taken with 
planer and mallet after the form has been placed on the stone. 

Large forms, or forms that are made up of several pages, are made 
up in sections, or separate pages and these are assembled to their 
respective places on the imposing stone, which is a large table, with a 
perfectly smooth and level thick marble or cast-iron top. 

The imposing stone must be freed from all dust or dirt before the 
form or pages are placed on it to be made up, and after the form is 
removed from the stone the under side of the type is carefully brushed 
off to remove any particles of dust that might be attached, as dirt under 
any of the characters would cause them to stand more than type high 
and produce a defective impression. 


IMPOSITION 


When two or more pages are to be printed at the same time, the 
proper placing of the page forms on the stone preparatory to being 
locked in the chase for the press is known as imposition. The position 
of each page in the form is determined by the number of pages to be 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1054. A page form made up of Linotype slugs and a halftone. 


LETTERPRESS PRINTING 447 


+ 


€ 
* 
Bg 


Crt 
Re 
& 
+ 
= 
Le 
4oO 
® 


PSs 


woBaed 


es 


Square halftone, 150 line, no line. Photographs of the sheets were trimmed and mounted on a gray card. The page 
numbers were written with pen and ink and the halftone made from the group. 


Fig. 1055. Imposition of two sixteen page forms to work sheetwise. 


printed together and the method to be followed in folding the sheets 
that are to be printed from the form. If to be folded by hand the lay 
of the form is usually different than if to be folded on a machine and 
different machines require different lays. The pages must not only be 
placed so that the page numbers, commonly called folios, will follow 
each other in proper sequence when the sheet is folded, but they must 
also be so placed that they will be in proper register when backed up 
and also to provide proper margins and due allowances for trimming 
since most all sheets after folding and binding must be trimmed on three 
sides—top, front and bottom. 

One of two methods is followed in placing the pages so that when 
both sides of the sheet are printed the pages will properly back each 
other. By one the form is printed on one side of the sheet, then turning 
the sheet over it is printed or backed up on the other side with the 
same form. This is called a ‘‘work-and-turn form’’ and the sheet 
printed from it when cut in half produces two complete copies, the 
pages on each running consecutively when folded. 

By the second method a certain number of pages are made into 
one form and this printed on one side of the sheet, and an equal number 
are made into another form with which the sheet is backed up or 
printed on the other side. This is called working ‘‘sheetwise.”’ A 
combination of these plans as shown in Fig. 1055 was followed in print- 


448 COMMERCIAL ENGRAVING AND PRINTING 


ing most of the forms in COMMERCIAL ENGRAVING AND PRINTING, 
sixteen pages being printed in each form, a form to each side of the sheet 
and the pages so arranged that when backed and the sheet cut in half— 
each made a complete 16-page signature with the first 16 pages of the 
group on one part, and the second 16 pages on the other. The two 
forms shown in the illustration will be recognized as pages 201 to 232, 
inclusive, of this book. 

While the 8, 16 and 32 page forms are probably employed more 
frequently than any others, there are an almost unlimited number of 
combinations resorted to to meet special conditions that may arise and 
12, 20, 24, 28, 64 or even 128 page forms are not infrequent. When 
the job is to be bound by saddle wire stitching or by sewing in the 
common way, the number of pages must be some multiple of four, 
while if to be side stitched or side sewed a single sheet of two pages 
can be handled. Small forms are sometimes assembled into one large 
one, and after the sheet has been printed it is cut and the smaller 
sheets are folded separately, each as a signature, which may be 
assembled with or inserted inside or outside of other signatures. 

The size and number of pages in the job and the number of copies 
to be printed are also factors to be considered when planning the im- 
position. Of course, a greater number of small pages than large ones 
can be handled in one form and usually only when a large quantity is 
to be printed is it practical to handle very large forms, when it may 
also be necessary to obtain paper of a size not regularly carried in stock. 

As it will be seen that the pages are not always printed in regular 
sequence, it will be understood that when it is desired to get the press- ° 
work started before all pages in the job are ready to print, it is neces- 
sary to select those pages which will be printed in the first form, or 
forms, and the printer should therefore be consulted to make sure that 
there will be time actually gained. 


REGISTERING COLOR FORMS 


Forms that are to be printed in more than one color, must be made 
up to print in register; that is, the forms must be made up so that each 
line and character will appear in its proper place when printed, al- 
though part will be printed in one color and part in another, a separate 
form being required for printing each color. 

In setting type that is to be printed in two or more colors it is usu- 
ally set first as though it were to be printed in one color and the proof 
is then marked for the color scheme. If it is to be printed in two colors, 
the parts to print in the second color are removed from the original 
form and the spaces are filled with leads, slugs, etc. The removed 
parts are then made up into a new form, being spaced out with furni- 
ture, leads, and slugs so that each line or part will register or fit. This 
work is also called skeletonizing. 

Shops in which much of this work is to be done are equipped with 
a register table, with glass top and specially lighted so that one form 
may be made up over the other. 

In such work, instead of separating the original form into two or 
more forms, as may be required, it is often less expensive to make as 


LETTERPRESS PRINTING 449 


CLOSING QUOIN 4 
WITH KEY ped 


" METAL 
FURNITURE 


REGLET ‘Et }-BRASS RULE BORDER PLANING DOWN 
WOOD FURNITURE—/ — : CROSS BAR IN CHASE _HALFTONE PLATE SET iN TYPE FORM 


Double print square halftone, 133 line, no line. Made from a slightly retouched photograph. The arrow lines were 
drawn on the proof from type of the lettering which was arranged separately for double printing. 


Fig. 1056. A form in a chase being locked up for the press. 


many electrotypes of the form as there are colors in which it is to be 
printed, furnishing the electrotyper with a proof indicating the color 
scheme that he may rout from the different plates the parts necessary 
to remove in order that each plate may print only its proper color. 


LOCKING UP THE FORM 


The chase or metal frame in which the form is to be locked while 
being printed is next placed on the stone around the pages which are 
in their respective places; and after the necessary furniture has been 
placed around each page the tie-up string is removed, and the form is 
drawn closely and properly together. 

When both sides of a sheet are printed, the matter on one side 
must exactly correspond in position or register with that on the other 
in good printing. 

The furniture may be either of metal or wood, is less than type high 
and is made in pica widths from one pica up and in various lengths, and 
it is used for building forms out to larger sizes, spacing between pages, 
etc., being more readily handled and making a more rigid form than if 
smaller materials were used. 

The form is planed down by placing a smooth surfaced wooden 
block on the face of the type and tapping it gently with a mallet. The 
purpose of this is to force down any characters that may be higher 
than others. The form is then lifted to see if all of the parts are se- 
curely locked and then if a proof is required it is inked with a roller. 
The proof s usualy taken on damp paper with a planer and mallet. 

The quoins are wedge shaped pieces of metal, used in pairs, and 
with the aid of a revolving key they are forced into position for holding 
the form in the chase. Wooden quoins are wedge shaped pieces of 
wood which are used mostly for locking type in the galley for proofing 
and are lightly driven into place with a shooting stick and a mallet, 
the former being a short bar of iron with a notched foot, 


450 COMMERCIAL ENGRAVING AND PRINTING 


HIGH AND LOW SPACES AND QUADS 


The spaces, quads, leads and slugs ordinarily used in hand set mat- 
ter are about three-sixteenths of an inch lower than the type. This 
difference makes it easy to distinguish them from the type that is to 
print and renders them less likely to work up to the paper on which 
the printing is being done. Type that is set for electrotyping only, 
should be set with high spaces and quads, which are the same height 
as the shoulder on the type. This makes it possible for the electro- 
typer to obtain a better mould and this, of course, results in a better 
printing plate. 


FORMS TO BE ELECTROTYPED 


If an electrotype is to be made of the type form, this to be used in 
printing instead of the type, the page is locked up in special chase made 
for this purpose. Large pages are usually electrotyped separately, but 
several small ones may be made up in one form, leaving space between 
to allow for sawing apart and sufficient margins for proper separation 
and mounting. The finished electrotype plates are then made up into 
forms for printing. 

Forms that are to be electrotyped should be set in new type or type 
that is used only for electrotyping. Type that has been used on the 
press becomes more or less worn even when used comparatively little, 
and a font of such type may contain many imperfect characters. De- 
fective type is not readily observed in the galley or stone proofs, but the 
imperfections are very pronounced when a press proof is taken of the 
forms, and for this reason forms that have been set from used type 
should be corrected only from press proofs before being electrotyped. 
This will save much work for the electrotyper and the pressman, as 
well as prevent the imperfections that sometimes appear in the fin- 
ished work, notwithstanding the most careful attention on the pant of 
the electrotyper and pressman. 


LABOR SAVING FONTS AND SPECIAL CHARACTERS 


Leads, slugs, brass rule, borders, and wood and metal furniture are 
purchased by the printer in what is known as labor saving fonts, that 
is, in a series of lengths and widths, each piece made to exact point or 
pica measure, thus making the assembling of units to make up a form 
a matter that can be quickly and accurately done. 

Many special type characters that are infrequently used do not 
come from the type founders as a part of fonts with which they may 
be used, it being necessary to purchase separately such characters as 
accented letters, special fractions, etc., in quantities as extras. 


OWNERSHIP OF PLATES, HIG: 


Different printers have different rules regarding the ownership of 
plates used in a job of printing. There is, of course, no question as to 
the ownership of plates that are furnished by the customer to the 
printer with which to execute a printing order; but it is a general rule 


LETTERPRESS PRINTING A451 


that when electrotypes are made of type forms or duplicate plates are 
made by the printer in order to facilitate or expedite the printing order, 
such plates are the property of the printer. Such duplicate plates are 
usually made at least at the partial expense of the printer and in all 
cases for the most expeditious handling of the order, and the customer 
thus receives indirect benefit on subsequent orders in that the printer 
holding the plates is able to make a more favorable price than if nec- 
essary to reset the job. 

An extra charge is made for the use of type that is kept standing for 
use from time to time, or for expected use, when so held on the order 
of the customer. 

Regardless of the form which the printed work is to assume, 
whether it is a folder, booklet, catalog, book, house organ, trade 
journal, newspaper, etc., the preliminary work of preparing the copy, 
setting the type and making up the forms follows the same principles 
as outlined in the preceding text, the work being modified only as the 
special requirements demand. The form of type, or type and plates 
is then locked up in a chase for the press, if the printing is to be done 
directly from the form, or for electrotyping or stereotyping if the work 
is to be printed from plates. 

Job composition is charged for on the basis of workman’s time 
required for doing the work. The rate per hour is determined by the 
cost system in use in the plant doing the work, while machine com- 
position is usually charged for at a rate of so much per thousand ems 
if straight matter, this rate differing with size of type being set, while 
for short runs, or extremely complicated matter, it is charged for on 
the hour basis of workman’s time. 


DISTRIBUTION 


After the required number of impressions have been taken on the 
press from the type form, or after electrotype has been completed, in 
case the presswork is to be done from plate instead of the original type 
form, the type and other material making up the form is known as “‘dead 
matter’ and must be distributed or returned to their proper places 
and this is called ‘“‘distribution.’’ This means not only the return- 
ing of the different type letters, characters, spaces and quads, etc., to 
their respective compartments in the cases, but also the proper filing 
of furniture, rule, leads, etc., that all may be in readiness for the next 
job in which they will be needed. Body type that has been set on the 
Linotype, Monotype, Intertype, or other typesetting machines is 
usually taken directly from the form and thrown into the stock of 
reserve metal for future use, or into the melting pot on the machine 
where it is melted and used again. 


NON-DISTRIBUTION 


In many offices, job printing as well as newspaper, there is in 
practice in the composing room what is known as the non-distribution 
system. By this system every job, excepting the plates for the illus- 


Pages 449 to 464, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


452 COMMERCIAL ENGRAVING AND PRINTING 


trations, is set in new material including type, spaces, quads, leads, 
slugs, rules, borders, etc. As soon as the form has been plated 
or printed, the plates for the illustrations, if any, are removed and the 
entire form is dumped into the melting pot and the metal cast into 
ingots to be used again in the making of new material. Under this 
plan, all body matter is set on a machine as it is needed, as well as such 
parts of the display matter as can be so handled. Other display lines are 
cast on slugs from matrices assembled by hand, or set by hand from 
the cases. If set from the cases, foundry cast type is not used but type 
is used that has been cast by machines in the plant. 

Owing to the fact that so many faces and sizes of type are used for 
display, it is often impractical to change the composing or casting 
machine for the small amount of any one size, or face, that might be 
required at one time, thus the matter can be more quickly set by hand 
from the cases. The machines for making display type, rules, leads, 
etc., are used mostly to cast such characters and material as are neces- 
sary to keep the cases full of type and other material, and a reserve of 
each character in storage as may be necessary for any demand. This 
plan not only saves workman’s time in distributing type and materials 
after the form has served its purpose, but also permits the use of new 
material for every job. 


PRESS ROOM OPERATIONS 


If the form is a small one it is usually printed on a platen press, 
commonly called a jobber, of which there are a number of makes. 


Outline-vignette halftones, 150 line. Made from retouched photographs. 
Fig. 1057. Golding jobber No. 7. Fig. 1058. Golding jobber No. 18. 
Job presses of the smaller and lighter type. 


LETTERPRESS PRINTING 453 


_ Fig. 1059 is an outline-vignette halftone, 133 line. Made from a photograph of a retouched photograph. Fig. 1060 
is a line etching on zinc and was made from a pen drawing. 


Fig. 1059. The Laureate Fig. 1060. Diagrammatic side view 
Model J press. of the Laureate. 


Platen press of the larger and heavier type. 


Such presses are built in different sizes capable of handling forms from 
about 8 x 10 to 12 x 18 inches. 

In operating such a press the sheet to be printed is ‘“‘fed’’ to the 
press by being placed on guides known as gauge pins on the platen. 
The latter through a rocker like motion carries it to the inked type 
form in the chase, which is securely held against the bed of the press. 
Grippers aid in holding the sheet to the platen and in pulling it from a 
heavy form. 

The act of bringing the paper to the type with a squeeze to obtain 
the print on the paper from the type is known as the impression. While 
seemingly a simple matter this is in reality a rather delicate operation, 
for the press must be in correct adjustment in order to give just the 
right amount of squeeze and a firm, rigid and even impression to the 
entire surface of the form. 

The arms carrying the rollers with which the type form is inked also 
operate with a rocker like motion. The rollers receive a fresh supply of 
ink from the fountain roller as they come in contact with it at the end 
of their upward motion. This supply is equally distributed over the 
surface of the rollers during their travel over the ink disc or through 
contact with distribution rollers, before they pass over the type form. 
The press so operates that while the printed sheet is being removed and 
a new one to be printed is being inserted the form is automatically re- 
inked. Then while the sheet is receiving the impression the rollers are 
receiving a new supply of ink. Between the alternate operations of 
inking the form and taking the impression the sheets are being fed and 
removed from the platen, which process continues until the required 
number of copies have been printed. 


454, COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 150 line. Made from a photograph of a retouched photograph. 


Fig. 1061. Miehle two-revolution, two-roller pony cylinder press. 


Such presses are adapted to the printing of all small work, such as 
envelopes, letter heads, cards, office forms and miscellaneous pieces, 
the forms for which contain no large halftones or solid printing sur- 
faces that require the even distribution of ink or a large amount of it, 
or heavy impressions. They are usually of the ‘‘clam-shell’’ type of 
press as shown in Figs. 1057 and 1058. 

Small forms up to 14 x 22 inches, that contain fine screen halftones 
from which high-class work is to be produced, or tint blocks, color 
plates, etc., which require better distribution of ink as well as a heavy 
impression, are run on a heavier built press. A press of this type is 
shown in Fig. 1059. This press is of the sliding platen type and in 
operation the platen is first brought to a position parallel to and then 
drawn against the form. 

Forms requiring a still greater impression and a larger and more 
even distribution of ink than can be obtained on either the light or 
heavy platen presses are printed on a small cylinder press, commonly 
known as a “pony cylinder” which will print forms up to approxi- 
mately 24 x 36 inches, as well as a form as small as a single line of type. 

Larger forms requiring greater ink distribution and greater impres- 
sion are printed on a cylinder press of which there are many makes, 
some of which will accommodate forms up to 46 x 65 inches or larger. 


PRINTED SIDE DOWN PRINTED SIDE UP 
DELIVERY DELIVERY 


QUO OO OO 


INK | 


FORM Fy INK PLATE bs 
FORM ROLLERS 


FOUNTAIN 


Line etching on zinc. Made from a pen drawing on which proof from type of the lettering had been pasted. 


Fig. 1062. Diagrammatic view showing travel of paper 
through the Miehle pony press. 


LETTERPRESS PRINTING 455 


Outline-vignette halftone, 150 line. Made from a photograph of a retouched photograph. 


Fig. 1063. Miehle two-revolution, four-roller cylinder press. 


The type form while being printed on such a press is in a horizontal 
position on a flat surface known as the bed. This oscillates forward 
and backward under the rotating cylinder, which carries the sheet that 
is being printed. The cylinder makes one revolution as the form comes 
forward under it, rolling, as it were, over the type form and causing 
the paper to take the impression from the type. When the form has 
traveled the full length of the press, the impression cylinder is auto- 
matically raised just enough to allow it to clear the type form on the 
bed of the press, which then travels backward to the point of starting, 
the cylinder making a revolution without making an impression at this 
time. These operations are repeated for each impression printed, the 
form being automatically inked before each impression and the sheet 
being delivered by the “‘fly’’ which picks it up as it begins to unwind 
from the cylinder. On most of the presses the delivery device can be 
changed so as to deliver the sheet with either the printed side or the 
blank side of the sheet up. Such a press is known as a flat bed, two 
revolution cylinder, and is the kind of press most used for the better 
class of catalog, book and job work. 


UNPR 


H FORM 


RINTED PapER PRINTED SIDE DOWN PRINTED SIDE UP 
————— BELIVERYSL— be 2 
Y 
ROLLERS 


e eee 
Ven ae 
ee ee ETS 
\ e260 
HH CR ——=s 


—eaieaeiieaiabietnenasil 
2 i eee Bless 
FRG QE 2 BD TOE LT LE BT OT OT BNA ONG on 


a INK PLATE - 


Line etching on zinc. Made from a pen drawing on which proof from type of the lettering had been pasted. 


INK FOUNTAIN 


Fig. 1064. Diagrammatic view showing travel of paper 
through the Miehle cylinder press. 


456 COMMERCIAL ENGRAVING AND PRINTING 


As the tympan, the surface on which the sheet to be printed is 
placed, on a platen press covers the entire area of the form and all 
parts receive the impression simultaneously, it is very apparent that 
it would be difficult, if not impossible, to so perfectly adjust the press 
and form that the impression obtained will be as even and as uniform 
as is possible when printed on a cylinder press. On the latter only a 
very small part of the cylinder is at any one time in impression with 
the form over which it rolls evenly. 


ALL PLATES MUST BE OF PROPER PRINTING HEIGHT 


It is of primary importance that every printing plate be of proper 
printing height. This applies whether the plate is mounted or un- 
mounted, flat or curved. Any variation from the standard height 
means loss of time on the press. If plates are too high, they must be 
planed down; if too low, they must be underlaid. The first operation 
by the pressman is to ‘‘level the impression,” i. e., get all plates to the 
proper height, if there is variance, so that they will print a flat uniform 
impression. This testing and correcting should be done previous to 
placing the form on the press, and a most satisfactory method is by 
the use of the Hacker plate gauge and rectifier illustrated in Fig. 1065B. 
With this device, the thickness of the plate is taken under printing 
pressure and the variance is shown on the dial in thousandths of an 
inch. The instrument applies the same pressure which the plate re- 
ceives in printing, thus measuring its functioning height which varies 
from the height without pressure. The plate can then be planed down 
if too high or underlaid if too low until the proper height is obtained. 
When all the plates in the form have been treated in this manner, they 
will print up uniform on the first try and be ready for the makeready 
proper at once. 

MAKEREADY 


Every form, no matter how large or how small, or what kind of press 
is used, must have the proper makeready before the best results in 
press work are possible. The principle involved in the makeready is 
the same for all presses. The object sought is so to equalize the impres- 
sion as to bring out all characters in the form clearly in the print. 

A tympan, usually made of a firm surfaced paper under which is 
paper packing, is first placed over the platen, if the form is being 
printed on a job press, or over the impression cylinder, if it is being 
run on a cylinder press, and a light impression is taken from the form 
on it. Then begins the work of makeready preparatory to printing. 

The size of the form, the nature of the plates, the condition of the 
type, the kind of paper on which the job is to be printed and many 
other factors determine the amount of makeready required, but forms 
containing fine screen halftones in vignetted finish require more time 
than any other phase of the work of makeready. 

This applies especially to job and book work of the better quality. 
Such work readily shows the effect of insufficient attention to make- 
ready. In newspaper printing the use of a thick soft tympan with 
sufficient squeeze or impression to bring all parts of the form in even 
contact with the soft paper used, and a soft quick-drying ink, make it 


LETTERPRESS PRINTING ADT 


Measuring 
mounted plates 
under pressure 


Square halftone, 133 line, with line. Made from retouched photographs. The two halftone negatives were stripped 
together and the white line between, also that inside the border line, was cut on the plate. 


Fig. 1065B. The Hacker plate gauge and rectifier with auxiliary equipment. 


unnecessary to give much time to makeready; but these conditions 
cannot prevail where good paper, good ink and fine halftones are being 
worked, for the object is to bring out in the printing all detail in a clean, 
sharp manner, and at the same time this must be done without showing 
any impression of the type or plates on the reverse side of the sheet. 
In fact a good pressman looks as carefully to the back of the sheet as 
to the face. 

In printing halftones the shadows require more impression than 
the high lights. Therefore, it is necessary to cut thin sheets of paper, 
usually of tissue, and known as “overlays’’ or “underlays,”’ of various 
sizes to distribute the impression properly as required. In the make- 
ready of vignetted halftones several thicknesses of tissue paper may be 
used for the overlay for the shadow or heavy part of the illustration, 
while perhaps only one thickness is used on the extreme edge of the 
vignette. 

It is not unusual to spend several hours on a makeready where a 
form contains several fine halftone plates, while on the other hand 
forms made up entirely of type matter in good condition may be made 
ready in a very short time. 


HAND-CUT OVERLAYS AND INTERLAYS 


In preparing an overlay or underlay by this method, a printed 
impression is first taken of the plate on a paper of light weight but of 
good enough quality to take a fairly clean print and strong enough to 
permit handling. This print is placed with the back of the sheet on 


Pages 449 to 464, inclusive, are printed on 25x88—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated “Paper Co., Hamilton, Ohio. 


458 COMMERCIAL ENGRAVING AND PRINTING 


the face of a sheet of carbon paper, and the two are placed on a smooth 
surface. The pressman then marks out the lines for the different over- 
lay sheets. Beginning with the solids and shadows first, a line is drawn 
to follow the outline of each solid, the surrounding parts in the next 
lighter tone are outlined in the same manner, and so on the different 
tones in the illustration are outlined in accordance with their strength 
of color. The extreme high lights require no underlaying, hence are 
omitted entirely in the underlays. The print with the outlines indicat- 
ing the overlays is now placed face down and on the back of it are found 
the outlines of the overlays, these having been transferred to the back 
of the sheet by the use of the carbon sheet. A sheet of tissue is placed 
over the traced outlines and with a sharp knife is outlined to correspond 
with the part of the illustration it is to cover. Each sheet of the over- 
lay is cut in a similar way, after which the sheets are pasted together 
one on top of another in their respective places. Then the entire over- 
lay is pasted to the sheet under the top sheet on the platen or that on 
the impression cylinder. 

Some subjects can be made ready better by using the cut-out 
method, utilizing one or two or more sheets of paper that are heavier 
than tissue, each being designated as a ply. Thus the overlay would 
be called a one-ply, two-ply, or three-ply overlay, depending upon the 
number of sheets used. By this method, after the print has been taken 
on as many different sheets as there are to be plys in the overlay, all of 
the middle tones and the high lights are cut away in one. In the second 
sheet only the lighter middle tones and high lights are cut out, while in 
the third sheet only the extreme high lights. These sheets representing 
the different plies of the overlay are now pasted together one on top of 
the other and mounted on the sheet underneath the top sheet. 

If there are several halftones in the form, each must have a separate 
makeready, as must also the type that is being run in the form. If 
plates are mounted on blocks that are not type high, they must be 
underlaid with cardboard or paper to bring them up to type height; 
or if they are higher than the type they must be removed from the form 
and dressed down to type high. Letters and other characters in the 
type form that are worn to such an extent that they are lower than 
surrounding type must be either replaced by inserting new type or 
built up by underlaying so as to print properly. 

The greatest thickness in the overlay is placed so that it comes di- 
rectly over the heaviest, usually the darkest, part of the illustration 
when the impression is being made. 

Considerable skill is required on the part of the pressman for proper 
makeready. Therefore, it is not so much the amount of time he may 
give to a form as it is the manner in which he makes the makeready 
that is responsible for results. 

Some pressmen prefer to place at least a part of the makeready be- 
tween the halftone plate and the block on which it is mounted. When 
this plan is to be followed, the engraver should be so instructed when 
the plates are ordered, so that they may be mounted in such a way as 
to be easily removed from the block for the insertion of this interlay 
before they are mounted permanently for printing. The nature of the 


LETTERPRESS PRINTING 459 


The view at left is a square finish halftone, 150 line, no line, made from a marked first press proof. It shows the shape 
and position of each of the six sheets of tissue and the order in which they were pasted up for the overlay which was pasted 
under the top sheet on the cylinder in printing the halftone at the right. The plate at the right is a square halftone, 150 
line, no line, and was made from a photograph of a carving on stone. 


Fig. 1066. Method of making a hand-cut overlay. 


plate, the kind of press and the skill of the pressman are all factors to 
be considered in determining as to how the proper makeready may be 
accomplished. 

A good print can be made from any good halftone, except vignettes, 
without overlay or underlay if sufficient pressure be applied and good 
ink and good paper used. This method, however, while not injurious 
to the plate for a few impressions on a hand press, would be damaging 
to the plate if followed in printing on platen or cylinder presses, be- 
cause the edges of the plate would wear down quickly and the plate 
would thus lose its fine printing qualities. 


OTHER OVERLAY PROCESSES 


In addition to the commonly used tissue paper process of overlay, 
and the cutout method, there are also in use a number of patented 
processes for the making ready of halftones and other plates. 

By the mechanical chalk relief process the halftone for which the 
overlay is to be made is placed on a job press and after it is inked with 
a special ink, three prints, one on top of the other, are made on a hard- 
surfaced paper. A sheet of special chalk-coated overlay board is then 
placed on this print and a printed impression is then made on the 
reverse side of the overlay board with the plate. In the operation the 
print on the hard surfaced paper is off-set to the back of the overlay 
board, which now has a print on both sides, one being exactly opposite 
the other, the one on the back of the board being of course in reverse. 
The sheet of overlay board is now passed through a special etching 
solution which through erosion removes the chalk coating on the sur- 
face except on the part to which the ink was applied in making the 
impression. The ink on the printed impression acts as a resist to the 


460 COMMERCIAL ENGRAVING AND PRINTING 


etching solution and retains in relief all details as represented by the 
print. The etched overlay is now placed under the sheet of packing on 
the press to register with the plate in the form and with a sheet or two 
of soft paper between the packing and the overlay, and it is ready for 
printing. 

It will be noticed that the part of the plate taking the most ink 
when making the printed impression, likewise retains the greatest 
height from the surface on the etched overlay. This results in the 
greatest thickness to that part of the overlay, so that when the over- 
lay is applied to the plate it gives the greatest impression when the 
printing is being done from the plate. 

The Duro-Overlay process is somewhat similar to the chalk relief 
overlay except that a special powder is applied to both sides of the 
sheet after the impression has been made with a specially prepared ink 
and that no acids are used. The coating of the overlay board is soluble 
in water and the powder which has been applied to the print acts as a 
resist to the water. Of course where the powder lies thickest the resist 
to the water action will be stronger, the resist being less strong in the 
middle tones and still less in the high lights. Both sides of the sheet are 
treated with sponge and water to remove the coating, after which the 
overlay is soaked in a special oil which hardens it and makes it pliable. 
The overlay is used under the packing in the same manner as the chalk 
relief or paper-cut overlay. 

A metallic overlay may be made by using a thin sheet of zinc as 
the base. To make this the halftone is placed on the press and a print 
is made from it on a sheet of zinc carrying all the ink possible but ob- 
taining aclean impression. The print is then dusted over with dragon’s 
blood, and the plate is heated and etched as in the process of making 
line etchings on zinc. After etching, the plate is ready to be used as 
an overlay under the packing in the same manner as other overlays. 

Typolith is a system of soft-hard makeready, the basis of which is a 
metallic overlay to which is added a resilient covering of fabric. It is 
for use on platen and cylinder presses and under license to be obtained 
from the patentee. It is claimed that by its use good halftones of any 
screen ordinarily used may be satisfactorily printed on paper of prac- 
tically any weight or finish. 


THE MC KEE PROCESS 


This is a patented process for treating electrotypes so that the 
makeready is in the plate itself and printing can begin as soon as the 
plate is placed on the press. The necessary variations in pressure of 
the printing plate on the sheet being printed, are obtained by pro- 
ducing in the face of the plate different levels, representing the various 
graduations of shades and tones in the picture reproduced by the plate. 
In making plates by this method, after the finished electrotype has 
been backed to the proper thickness proofs are made from it and these 
are used in making an overlay, or matrix, as it is called. The matrix 
while made from the proofs and in a manner similar to that of preparing 
a hand-cut overlay, is made in reverse of the overlay ordinarily used, 


LETTERPRESS PRINTING 461 


i. e. it is thickest for the high lights and thinnest for the solids of the 
picture. The electrotype is placed face down in register on the matrix 
and the whole put through a special machine which shaves off the 
back of the plate such parts as are supported by the different thick- 
nesses of the matrix underneath. The unsupported and partially sup- 
ported portions give way under the pressure of the knife and are thus 
not shaved or partially shaved off, and on account of the resiliency of 
the plate they resume their normal position after the pressure is re- 
moved. The shaved plate with face level and the elevated and de- 
pressed surfaces of the back, but still in contact with the matrix, is 
now placed in a press and under heat and hydraulic pressure the 
raised surfaces on the back of the plate are forced into the depressions 
of the matrix, thus leaving the face of the plate of variable heights, 
and the back of it true and level ready for use on the mount or cylinder. 

While this process is not in general use it is used by many publishers 
and printers, not only for flat plates for use on cylinder presses but by 
those who print large editions from curved plates on rotary presses and 
wherein halftones are used extensively. It has an advantage in being 
permanent, will not slip or crush, and the same matrix may be used in 
making duplicate plates without expense for makeready. Also the 
plates may be used for another edition without expense for makeready. 


THE CLAYBOURN PROCESS 


This is a process of makeready for electrotypes, involving special 
treatment of the plate in the making, and is based on the theory that 
printing should be done by perfectly even contact between the face of 
the plate and the paper being printed, and not by pressure. By other 
processes, the different parts of the plate receive the proper amount of 
impression to print properly by underlaying or overlaying. In this 
process special attention is given to five factors, each of which must be 
right in order to produce perfect printing. They are the plate, the 
patent base, the press bed, the cylinder and the tympan. These are co- 
ordinated by correcting the bases, cylinder and press bed by grinding, 
the use of tympan paper that is uniform in thickness, and by using the 
special treated electrotypes, the printing face of which has been tested 
and proven to be on an absolutely level plane. A special tool, weighing 
approximately two tons, is attached to the press, when press cor- 
rection is necessary, and under its own power, on its own ways, 
planes or scrapes both bed and cylinder to meet on a level plane. 
The process practically eliminates all makeready, it is claimed. 


ALL OVERLAY METHODS REQUIRE GREAT CARE 


The greatest of care must be used in the preparation and use of the 
patented overlays as well as in using the tissue overlays and the cut- 
out overlays, as the carefulness with which the work is done, and the 
exactness with which the overlays are placed in position, rather than 
the process used will determine the quality of the work. When a 
large amount of printing is done from halftones considerable time 
is saved through the use of one of the patented processes, some of which 


A462 CoMMERCIAL ENGRAVING AND PRINTING 


are sold outright and for the use of others shop rights are sold in ad- 
dition to the special material. 

After proper makeready has been completed the gauge pins are 
set, if the work is being printed on a platen press, or the guides are 
properly adjusted if the work is being done on a cylinder press, so that 
the printed impression will be made in the proper location on the sheet. 
Then after the fountain has been supplied with the proper ink the work 
of printing proceeds, the sheets being fed to the press one at a time. In 
the usual run of printing only one side of the sheet is printed at a time. 

The ink fountain may be so regulated that after proper adjustment 
when beginning the job, even a long run may be completed with uni- 
formity in the amount of ink throughout without further attention 
except to keep it supplied with ink. 


AUTOMATIC PRESS FEEDING 


While much of the press feeding is done by hand on short runs, 
most job and publication work on long runs is now fed with automatic 
feeders, which are made for use on small job presses as well as for the 
larger cylinder presses, folding and ruling machines. 

These feeders are so ingeniously constructed as to appear almost 
human in their operations. They not only place the sheets in proper 
position with almost perfect regularity, but they are so arranged that 
an imperfect sheet will automatically stop the machine before it will 
allow such a sheet to pass to the printing mechanism. Their use not 
only insures good work but larger output. They satisfactorily handle 
practically every kind of paper and can be used economically for most 
short runs as well as for long ones. 


Outline-vignette halftones, 150 line. Made from retouched photographs. 


Feeder raised to permit Feeder in position ready 
access to platen. for operation. 


Fig. 1067. The Miller platen press feeder. 


LETTERPRESS PRINTING 463 


Square halftone, 133 line, no line. Made from photographs of retouched photographs. 


Fig. 1068B. Dexter suction feeder (left), and continuous feeder (right). 


INK ROLLERS 


Another very important requisite in the production of good print- 
ing is good ink rollers, which are an item of considerable expense to 
every printing establishment, although usually looked upon as not be- 
ing of much consequence. There is not only the expense incident to 
wear, but the rollers must be kept resilient and of a consistency suit- 
able to the season in which they are being used; 7. e. rollers made for 
the winter use cannot be successfully used in warm weather and those 
made for summer use cannot be used in winter. Also it is almost neces- 
sary to obtain new rollers with which to print a very delicate or light 
shade of tint. Thus, when anyattempt is made to produce a good qual- 
ity of work it is essential that the supply of rollers be adequate to meet 
any conditions that may arise. ) 


SUIP-SHEETING 


In printing forms on which it is necessary to carry considerable ink 
to obtain sufficient color on the printed sheet, it is often necessary to 
slip-sheet the work to prevent the freshly printed sheet from off-setting 
or smudging the sheet placed next to it. This is done by slipping a 
clean unprinted piece of paper between each of the printed sheets as 
they are delivered from the fly of the press. This entails additional 
expense because an extra operator is required for placing the clean 
sheets between the printed sheets as they come off the press and for 
removing them after the printed sheets are dry, and an extra charge is 
made for it. The necessity for slip-sheeting does not depend solely on 
the amount of color necessary to be carried on the work. The kind of 
paper used, the kind of ink, and the weather conditions, are all factors 


464, ComMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1069. The Johnson gas burner in use on a two-color Miehle press. 


which determine whether or not slip-sheeting is necessary. There are 
‘nks on the market which have quick drying properties and which can 
be used for some classes of work, making slip-sheeting unnecessary, 
although an unusual amount of ink may be carried by the form. 

The necessity of slip-sheeting is also overcome on some work 
through the use of a gas burner. This is a device, or kind of gas 
burner, producing a low continuous flame across the full width of the 
press and over which the freshly printed sheets pass in their delivery 
from the fly. The use of this flame not only aids in the drying of ink 
but is also an aid in preventing trouble on account of static electricity 
which at times is more or less serious in the press room. One type of 
burner is shown in Fig. 1069. When it is attached to the carriage 
delivery, the sheet not only passes over it as it leaves the tapes, but the 
burner passes forward and backward over the sheet after it has been 
deposited on the delivery board, thus heating both sides of the sheet. 


NUMBERING 


In printing sheets that are to be numbered consecutively, and in 
the same color in which the form is being printed, a type high number- 
ing machine may be placed in the form and the numbers automatically 
printed as the rest of the form is being printed. While this entails an 
additional expense, the cost will be less than if the numbering is done 
as a separate operation on many jobs. 


Outline halftones, 133 line. Made from retouched photographs. 
Fig. 1070. Standard model. Fig. 1071. Plungerless. 


Types of numbering machines. 


LETTERPRESS PRINTING 465 


One of these machines will print consecutive numbers, or only odd 
or even numbers or multiples; duplicate, triplicate, etc., or print ten 
to a hundred impressions of a number before changing to another and 
then repeat; number backward, or perform almost any feat of number- 
ing that can be imagined. 

SCORING 


Heavy weight, book and cover papers and cardboards, fold with a 
more nearly perfect and cleaner folded edge if scored before folding. 
This is done by feeding the sheets through the press giving them a 
light impression with a brass rule, applying just enough pressure to 
make the sheets fold easily and smoothly without breaking. The 
fold is made toward the raised side of the crease. 


SPECIAL PRESSES 


In addition to the light and heavy platen and the small and large 
cylinder presses mentioned, which are used for the run of ordinary job 
work, there are a great many special machines built for printing special 
classes of work. 

A multicolor press is for printing several colors at one operation. 

A perfecting press prints on both sides of the sheet as it passes 
through the press and usually delivers the sheet folded. 

A web press prints from a continuous roll or web of paper. 

The duplex is a two cylinder machine printing either from the roll 
or sheet and printing both sides of the sheet at the same operation 
through the press. 

The stop cylinder press is little used, having been replaced with 
modern presses. In operation the impression cylinder after taking the 
impression from the type form is automatically raised and remains 
stationary while the type form is on the backward motion—the cylin- 
der starting again as the form comes forward under it. 

There are several makes of small presses on which long runs of 
small forms can be printed at high speed very economically. These are 
automatically fed, and some are especially adapted to type forms or 
forms in which there is a combination of type and line engravings. 

Special presses are made for printing railway tickets and coupons, 
amusement tickets of all kinds, dairy, ice, etc., tickets and coupons, 
paper and cloth bags, labels of every description, cut square or ir- 
regular, or slit and rewound, gummed sealing tape, recording meter 
paper and cash register forms, lunch and hotel checks, loose-leaf and 
manifold work, index cards, merchandise, patched and eyeletted tags, 
folding boxes, office and factory forms, milk bottle caps and a great 
variety of jobs requiring a number of colors or operations. Most of 
these presses print from the roll at high speed and deliver finished 
products in one passing of the stock through the machine. 

The New Era press, shown in Fig. 1076, has automatic roll feed, 
standard sections to print three colors on the face and one on the back 
of the stock, slitters, punch head and rewind delivery. Attachments 
may be added for printing additional colors, for perforating across 


Pages 465 to 480, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


4.66 COMMERCIAL ENGRAVING AND PRINTING 


UNPRINTED 
© PAPER 


ii 
e ofl | IP - 


Fig. 1072 is an outline-vignette halftone, 150 line. Made from a retouched photograph. Fig. 1073 is a line etching 
on zinc made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1072. The Kelly press with Fig. 1073. Diagrammatic view of paper 
automatic feeder. travel through the Kelly press. 


or lengthwise of the web, numbering, reinforcing tags, eyeletting, 
folding, etc. That shown in Fig. 1075 prints a single color and has 
punching and cutting attachments and stacker delivery. 

The Miller High-Speed press, Fig. 1074B, is an automatically fed 
machine for all classes of job printing including heavy forms, fine 
halftone and multicolor work. Its speed is from 2,000 to 4,000 impres- 
sions per hour. A reciprocal movement of bed and cylinder, each of 
them traveling but half the distance, serves to slow down the periph- 
eral speed of the cylinder. It will handle sheets varying from tissue 
to cardboard and as large as 1234x20 inches. | 

The Kelly press is a three roller, two revolution, job room printing 
machine, designed especially to do the work ordinarily produced on 
platen presses but at greater speed. As it registers accurately, and has 
ample ink distribution, it may be used as successfully for color work as 
for the better classes of one color work. It may be changed instantly 
to hand feed, or the reverse, by simply lifting, or lowering, the hinged 
portion of the feeder while the press is idle or in operation. Sheets as 


Fig. 1074B is an outline-vignette halftone, 150 line. Made from a photograph of a retouched photograph. Fig. 
1075 is an outline-vignette halftone, 150 line, and was made from a slightly retouched photograph. 


Fig. 1074B. Miller High-Speed press Fig. 1075. New Era press. 


LETTERPRESS PRINTING 467 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 
Fig. 1076. New Era press. 


large as 17 x 22 inches may be printed in one color on one side on it at 
a speed of from 1500 to 3600 per hour. | 

The envelope and card press shown in Fig. 1077 prints from curved 
stereotypes or electrotypes up to 10 x II inches in size, or from type 
forms up to 34 x 77 inches at a speed of from 5,000 to 12,000 per hour. 
Made up envelopes as small as 2% x 31% inches up to 5 x I 1% inches, 
and cards from 21% x 3 inches up to 11 x 12 inches can be satisfactorily 
handled onit. The roll back second color printing attachment makes it 
possible to print in one or two colors, as desired, at one automatic 
feeding. 

The press shown in Fig. 1079 is for printing envelope blanks after 
dieing out and before folding. It will print in one or two colors the 
blanks for envelopes ranging in size from 134 x 27% inches to 5 x 11%4 
inches, using curved plates up to 12 x 17 inches or type forms up to 
4/8 X 77@ inches, at a speed of from 5,000 to 10,000 per hour. 


TAs Ge 
1ST COLOR 


(prs: FOUNTAINS 


aes) 
So) 
OK ow, 


veoye PRINTED STOCK 
<\ PRINTED SIDE UP 


TOCK, 
SEPARATOR 7 


Ye 
IMPRESSION CYL aa STYPE CYL 
2ND COLOR 


Fig. 1077 is an outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1078 is a line etching 
on zinc made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1077. Harris two-color envelope Fig. 1078. Diagrammatic view showing 
and card press. envelope travel. 


468 COMMERCIAL ENGRAVING AND PRINTING 


TYPE CYL. 
1ST COLOR 


AUTOMATIC 
STOCK SEPARATOR 


TYPE GYE.. 
2ND COLOR. 


“4 0) 
PRINTED STOCK AM ©) 
——— Wa \ 


FEEDER CYL. 


IMPRESSION CYL 


Fig. 1079 is an outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1080 is a line etching 
on zinc made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1079. Harris two-color envelope Fig. 1080. Diagrammatic view showing 
blanker. paper travel. 


The special Meisel press, shown in Fig. 1081, prints from a roll of 
paper and performs sixteen operations at one time, turning out the 
waybill form with its many parts, imprints, perforations and carbonized 
sides complete, with the rapidity of a newspaper press. The collect 
and prepaid waybill forms for salaried offices comprise six parts, on 
five of which are imprinted the name of the shipping office, the waybill 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1081. Special Meisel press for printing and finishing waybills 
for the American Railway Express Co. 


LETTERPRESS PRINTING 469 


Outline-vignette halftone, 133 line. Made from a retouched photograph. 


Fig. 1082B. Duplex flat bed web perfecting press. 


number, and in the case of very large cities, the date. One part of the 
form—the office copy—is carbonized on one side, while other parts are 
perforated with large round holes and _ half circles, which assist in 
pasting to the package. The eighth part, or master form, has an extra 
portion including the shipper’s receipt. This has four carbonized parts 
and is folded complete. 

The type of press used by the medium sized daily and weekly 
newspapers is shown in Fig. 1082B. This prints from flat type forms, 
on both sides of the paper from a roll, which it also slits, cuts and 
delivers in 2, 4, 6 or 8 page papers, folded to one-half or one-fourth 
page size at a rate of 5,000 to 6,000 papers per hour. 

The Miehle two color two revolution cylinder press is adapted to 
the printing of long runs of fine color work. In principle this is two 
presses in one, both printing on the same side of the sheet and each 
cylinder printing from a separate form. The forms are placed on oppo- 


C\ 


TRIANGULAR 


= 


FOLDER 
Rear 


SLITTER 


IMPRESSION CYLINDER 


© 


Po 


TYPE FORM oe 


oan 


INK FOUNTAIN IMPRESSION CYLINDER INK FOUNTAIN 


pee Oe 


TYPE FORM = 


INK FOUNTAIN INK FOUNTAIN 


EQUALIZER 
ROLLS 


a 
Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1083B. Showing web lead and features of the Duplex press 


A470 CoMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 150 line. Made from a photograph of a retouched photograph. 


Fig. 1084. Miehle two-color two revolution cylinder press. 


site ends of the bed of the press and each is inked from its own fountain 
with its special set of rollers. The sheets are fed to the cylinder print- 
ing the first color and after receiving the first impression they are auto- 
matically delivered or fed to the second cylinder where they receive 
the second color. 

ROTARY PRESSES 


Where large production and speed are essential rotary presses are 
extensively used. These are built in many different sizes and styles 
and are adapted to the printing of about everything from a small single 
sheet to pamphlet, booklet, periodical, magazine and newspaper work. 

All type is set and plates of illustrations are made for use on such 
presses as for printing on flat bed presses. The forms are then electro- 
typed or stereotyped and the resulting plates are curved to fit the plate 
cylinder from which they are to be printed. The paper may be in 
sheets for some of the presses, although it is almost always taken from 
the roll and receives the printed impression when passing between the 
form or plate cylinder and another cylinder known as the impression 
cylinder, the paper being printed on one side and then often on the other 
by another set of cylinders. Special presses are built for different classes 
of work but the principle of printing from the rotary cylinder is the 
same in all. Certain types of this press might be classed as being of 
regular or stock design, but many are built to order to meet special 
conditions. All are expensive and some of the larger and more compli- 
cated machines cost many thousands of dollars. 


SA Sie 
PRINTED SIDE UP Nee PRINTED SIDE DOWN 
DELIVER 


PER 
DELIVERY \ uf ve = 


UNPRI 


PUPS LL I LITA LS LOS 


INK FOUNTAIN INK PLATE FORMS 
Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1085. Diagrammatic view showing travel of paper 
through the Miehle two-color press. 


LETTERPRESS PRINTING 47] 


Outline-vignette halftone, 150 line. Made from a retouched photograph. 


Fig. 1086. Hoe 64-page periodical rotary electrotype 
web perfecting press and folder. 


Different presses are made to print, in from one to six colors, any 
multiple of four pages up to 128 pages at one operation and deliver 
these pages in various ways. The pages may come from the press on 
flat sheets or folded in signatures—that is, with the pages of a single 
sheet folded to their proper position; or they may be delivered, folded 
and pasted or saddle stitched with wire into complete books, or folded, 
assembled and bound complete with covers or inserts or both that may 
have been printed on other presses. These results are accomplished by 
adding the necessary mechanical units but combining them all in one 
complete machine. The output of such presses, also is increased by 
duplicating the plates, thus running two or more sets at one time; or 
by increasing the width of the web printed or adding equipment to 
handle additional webs. 

The rotary electrotype web perfecting presses are used for printing 
periodicals and magazines, and curved electrotype plates are used on 
them. The packing on the impression cylinders may be soft, semi- 
hard or hard, thus permitting adaptation of the makeready to the class 
of work desired. Just as much time is required for the makeready for 
printing fine halftones on a rotary press as when they are printed on 
a flat bed. A separate set of plates is of course required for each color 
and each set is run on its own set of cylinders, with its own inking 
mechanism, etc., the printed web or webs being cut, folded and assem- 
bled for delivery. 

Presses used for the finer grades of work are built to overcome the 
difficulties incident to offsetting, although quick drying inks are used. 
They also provide for the perfect register of color plates. 


472 CoMMERCIAL ENGRAVING AND PRINTING 


I Vg gGgAagGq ad é 
(6 Vag ad AI Aa Ee 27°24 


\/ PRINTS PAGES 9 11 13 15 25 27 29 31 
34 36 38 40 50 52 54 AND 56 


q Ww 
HN 
LN 


mi 
mil 
hl 


im 


Vn edo ae 


pf 


VeRFFGIG AGA c= - 


Zz wy [ 
SECOND CYLINDER PRINTS PAGES: 2 4 6 8 18 20 22 24 
8 41 43 45 47 57 59 61 AND 63 


PLATE _CYL. AND 
INKING MECHANISM 
FOR EXTRA COLOR 


CUTTING CYLINDER 


T 
TURNING 
' BARS | 


CUTTING 


ener 


8 SHEETS, 
4 PAGES EACH 


= 


16 SHEETS, 
4 PAGES EACH 


PLATE CYL. 
OFFSET ROLL 


DELIVERY 


COLLECTING AND 
FOLDING CYL. 


64-PAGE_PRODUCT 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1087. Diagrammatic view of Hoe 64-page periodical press and sketch showing 
one order of arrangement of the plates for printing and the method of 
slitting, gathering, cutting, stitching and folding the webs. 


A sheet feed rotary press has some advantages for job work, because 
almost every kind of stock can be obtained from the paper jobbers in 
the sheet, while it would be difficult and sometimes impossible to ob- 
tain special stocks in the roll of required size. Such presses are usually 
supplied with two automatic feeders, feeding alternate sheets and 
giving a production that is about double that of the ordinary two 
revolution cylinder press. 

The type of press as shown in Fig. 1086 is used for printing farm 
journal and mail order publications. The one illustrated has four 
pairs of plate cylinders and an extra cylinder for color printing. Each 
cylinder will hold plates for sixteen pages, each approximately 1034 
inches by 14% inches. The color cylinder makes possible the printing, 
when desired, of an extra color on sixteen pages. While the machine 
is designed to print from two rolls, position is provided for the third, 
which may be of a different kind of paper from the other two, thus 
providing for a cover when desired. The webs are slit, cut, folded and 
wire stitched as they pass through the folding mechanism and the 
complete journals, folded to page size are delivered at the rate of 6,000 
to 12,000 per hour, depending on the number of pages and the number 
of sets of plates used. It also has offset rolls from which sheets of offset 


LETTERPRESS PRINTING A 


Outline-vignette halftone, 133 line. Made from a retouched photograph. 


Fig. 1088. Hoe double rotary electrotype web perfecting press and folder 
for illustrated periodical and magazine printing. 


paper may be run between the side of the web first printed and the 
second impression cylinders, to prevent the sheets from smutting and 
offsetting on the cylinders as they are printed on the other side. The 
offset webs are rewound after passing over the impression cylinders 
and are used again and again. It also has oil fountains with offset 
rolls, which are also used to prevent offset from the side first printed, 
sometimes in connection with the offset rolls and sometimes alone. 
A mixture of kerosene and machine oil is used in these fountains and it 
is transferred by a composition roller from the fountain roller to a plush 
covered roller, which is in contact with the impression cylinder and 
by friction frees its surface of the ink that may adhere to it. 

The press shown in Fig. 1088 prints from two rolls of paper and has 


ee Gases tg eee ea ese oe 
C=2===53 oe PLATE CYL. ¥ i 
eae En \_4 
=o QI A eee] | fesen | oe 
9 () a C) O GB] 
010 OriivOGioo: 
iO exe Ow 
NIA WRAL 
: . Sea foh a Eom g 
~ a C) yy = 
Oe 


ane 


Pag Se . j : 
Ke) we YAW | Fe 


——————— 
UNPRINTED PAPER “% PLATE CYL. IMPRESSION CYL. PLATE CYL. 


Line etching on zinc. Made from a pen drawing on which proofs from type of the.lettering had been pasted. 


Fig. 1089. Diagrammatic view of Hoe double magazine press. 


4,74, COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 
Fig. 1090. The Cottrell multicolor rotary press. 


four pair of plate cylinders, offset rolls and oil offset devices. The 
folder is provided with two automatic feeders for feeding in, when 
desired, covers and insert sheets printed or lithographed in advance, 
the whole being delivered in book form, folded to page size, cut open 
at the head, side and foot and wire stapled. It will produce 8, 12, 16, 
20, 24, 28, 32, 40, 48, 56 or 64 pages and an extra four pages and cover 
from the feeders, when running as a one color machine, and various 
combinations as to colors and number of pages which may be printed 


at one time are possible. 


MULTICOLOR ROTARY PRESS 


The Cottrell multicolor rotary press shown in Fig. 1090 prints four 
colors superimposed upon each other wet. The colors are printed in 
the same order as though they were being printed on separate presses, 
but they are all printed while the sheet runs through the press once, 
the same set of grippers carrying the sheet until all of the colors are 
printed. This insures accuracy in register, avoids the troubles some- 
times due to shrinkage or stretching of paper due to atmospheric 
conditions and the improper drying of ink between printings all of 
which cause more or less annoyance and spoilage. The pressman is 
also able to see the final result from the finished sheets at any time 
and may change the amount of any color as necessary. If the colors 
are printed one at a time on separate presses it is necessary to depend 
on matching the progressive proofs furnished for this purpose and the 
last color must be printed before final results can be determined. It is, 
of course, necessary to use ink of a special quality in order that the 
colors may be successfully superimposed while wet. 


Pages 465 to 480, inclusive are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


“ 


ga ge ye ee ee ee ee 


PE a A CRA IE oh 


LETTERPRESS PRINTING AT5 


PLATE CYLINDERS 


USUAL ORDER—BUT NOT ALWAYS 
YELLOW 


BLUE 
BLACK 


IMPRESSION CYLINDER 
Oe fa eee 2 
S== res WHITE SHEET = = 

6 ee Se py pas aS] 5 


| ty =-~\ TRANSFER 
{ 


SaaS = ea 


=~r--—-- 


1 
I 

re) = t : qe ei 7 = 
if are im. | lan ara y I 

Wa =4 eZ 
is = ; 
j L- eA = SLIP SHEET 

| f Cd ah Ne TRANSFER | 
y | 
| 
| 


er 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1091. Diagrammatic view showing travel of paper 
through the Cottrell multicolor press. 


The press consists of one large impression cylinder and four plate 
cylinders, each with its own inking mechanism. The sheet is taken by 
the grippers on the large impression cylinder, is carried under the yellow 
printing mechanism, then the red, then the blue and finally the black, 
delivering the sheet completed; and at the same time automatically 
delivering a slipsheet if desired. Naturally, the four colors take their 
impression at the same time on the one impression cylinder and it is 
manifestly impossible to make the four forms ready on the same im- 
pression cylinder by ordinary methods. This condition is met by the 
use of the McKee process of makeready which is described elsewhere. 
This press may also be used for printing one, two or three colors. 

Rotary newspaper web perfecting presses print from stereotype 
plates curved to fit the plate cylinders. Electrotypes are not used on 
newspaper presses ordinarily, because, although they would produce 
better printing results, considerable more time is required for making 
electrotypes than for making stereotypes. As time is an important 
element in the printing of newspapers, very little attention is given to 
special makeready. The color printing features, as well as the ca- 
pacity, folding and delivery of the product from newspaper presses are 
the same as with the magazine presses, except that they are so con- 
structed as to be especially adapted to newspaper work. 

To meet conditions in the required output, newspaper web per- 
fecting presses are built in a great number of styles and sizes. Among 
the factors to be dealt with in building these presses, nearly all of which 
are built to order, is the size and number of pages, number of colors to 
be printed, number of copies that must be produced within a certain 
time limit and the shape and size of the space in which the press is to 
be erected. They are all made to print from curved stereotype plates, 
although curved electrotypes or nickletypes may be used for long 
runs or color printing. A press with a maximum capacity of 32 pages is 
commonly referred to as a quadruple press, 48 pages as a sextuple, 
64 pages as an octuple, 80 pages as a decuple and those with capacities 
doubled as double quadruple, double sextuple, etc. 

The press shown in Fig. 1092 prints from eight rolls of paper at one 
time, eight pages on each side of each web—128 pages in all, slitting, 


A476 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 150 line. Made from a retouched photograph. 


Fig. 1092. Hoe double octuple newspaper perfecting press with units superimposed. 


collecting and folding them into four 32-page sections, two of which 
are delivered in front as shown and two in the rear, at the rate of 
18,000 of each section per hour. Either end of the press, or any one or | 
any number of the decks can be operated, if desired, while the re- 
mainder of the press is idle. This and the option in changing width of | 
webs and manner of gathering, folding and delivery, makes it possible 
to produce a wide range in the product and by decreasing the number 
of pages and duplicating the plates the speed in delivery is increased. 
Also either or both ends of the press may be used for color printing as 


) 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Drawing 
was made of only one end of the press and when making the etching a duplicate negative was “reversed” and stripped 
to join with the first. Reference letters and a style of type were selected that would not appear backwards when reversed. 


Fig. 1093. Diagrammatic view of Hoe double octuple newspaper press. g 


LETTERPRESS PRINTING ATT 


Outline-vignette halftone, 133 line. Made from a retouched photograph. 


Fig. 1096. Hoe machine for cutting, creasing, 
scoring and printing in two colors. 


for the comic sections of Sunday papers. The solid lines in the 
diagrammatic view in Fig. 1093 indicate the lead or travel of the webs 
when the press is used for printing in one color and the dotted lines 
indicate the travel if one color is being printed on one side and one, 
two, three or four on the other of two webs on opposite ends of the press. 
The reference letters A indicate the unprinted rolls of paper and the 
lead of the different webs through the press; AA, offset Tollcomelds 
inking mechanisms; M, plate cylinders; W, impression cylinders; Y, 
folders and X the deliveries. 

Single revolution flat bed cylinder presses are used mostly for coun- 
try newspaper work. The impression cylinder makes only one revo- 


PLATE CYLINDER—1st COLOR FEED BOARD 
“ eae 


Say — ac so Se 
INK ROLLERS — BON 
eget Eee= 
o: {iS 


PLATE CYLINDER 
2nd COLOR 


SCORING AND CUTTING FORM 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1097. Diagrammatic view of Hoe cutting, 
scoring and printing press. 


478 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 133 line. Made from a retouched photograph. 
Fig. 1098. Langston press for printing corrugated and fiber board. 


lution while the type form passes forward and backward under it. The 
cylinders on such presses are much larger in diameter than those on 
the two revolution cylinder presses, since the circumference must equal 
the distance traveled by the bed in both the forward and backward 
movement. In order that the cylinder may clear the form while on the 
backward movement, the surface of one-half the periphery is lower 
than the remaining half which comes in contact with the printing form 
while the printing impression is being made. Such presses are also so 
built to give easy and quick access to the type forms while on the press, 
thus permitting of corrections in the shortest possible time. While 
they may be used for ordinary job work in addition to newspaper 
printing, they are not adapted to fine halftone printing for booklet or 


DISTRIBUTING 
ROLLERS 
INK FOUNTAIN ped 
SECOND COLOR Pio ; 


DISTRIBUTING CYLINDERS 


‘INK FOUNTAIN 
FIRST COLOR 


DISTRIBUTING CYLINDERS 


+ _ IMPRESSION 
CYLINDER 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1099. Diagrammatic view of the Langston press for 
corrugated and fiber board. 


LETTERPRESS PRINTING 479 


catalog work because of their light construction and inadequate ink 
distribution and usually their inability to give close register. 

The machine shown in Fig. 1096 is used for printing, cutting, 
creasing and scoring paper, cardboard and other materials for boxes, 
cartons, etc. The printing is done from curved plates 14-inch in thick- 
ness fastened to the plate cylinder. The cutting is done by sharp- 
edged steel rules .923 in. high, and the scoring and creasing, at the same 
operation, by blunt-edged steel rules -918 in. high, which are locked up 
on the bed of the machine. Either or both of the printing mechanisms 
may be used or silenced when cutting or scoring. 

The press shown in Fig. 1098 will handle flat sheets, fed singly, as 
large as 50 x 126 inches, printing them in one or two colors and slitting 
and scoring them one way at the same operation if desired. The type 
cylinder is spirally grooved for holding metal or metal backed curved 
plates, or the machine may be equipped with maple lagged cylinders 
to which rubber type can be tacked. 

The McDonald printing machine shown in Fig. 1100 will print eight 
different colors in one operation and at a speed of 100 yards a minute. 
It has eight printing nips, each of which is a unit for printing one color 
and they all work in common with a central impression cylinder. Each 
nip holds an engraved cylinder and a color box in which there is a brush 
roll which transfers the special color from the pan on to the printing 
cylinder. The design on each printing cylinder consists of only that 
part of the complete design which is to be printed in the one color, thus 
a combination of all the different colors represented by the different 
cylinders is required to produce the complete design. Designs em- 
ploying eight or a less number of colors can be printed on the machine 
with the passing through once of the material. As the sheet passes 


tae 


__'NK ROLLER 
4%-IN DIAM 


Fig. 1100 is an outline-vignette halftone, 133 line, made from a slightly retouched photograph. Fig. 1101 is a line 
etching on zinc made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1100. Fig. 1101. 
The McDonald machine for printing wall paper, silk and cotton. 


A480 COMMERCIAL ENGRAVING AND PRINTING 


between the first engraved cylinder and the central cylinder, it receives 
the first color, the second from the second cylinder and so on, the ma- 
terial being printed complete after passing the last cylinder. The 
blank material is taken from a roll and after being printed, is carried 
on an endless belt a sufficient distance for it to dry before being re- 
rolled. The mandrel of each printing cylinder is geared with a central 
gear on the large cylinder and this with the positioning of the nips and 
the uniform diameter of the cylinders, insures proper register. This 
style of press is also made with a less or greater number of nips. | 

The cylinders for printing wall paper are of wood and the designs 
or patterns for printing are built in relief on these cylinders with pins, 
pieces of wire and sheet brass. The outline of the designs are first 


Outline-vignette halftone, 133 line. Made from a retouched photograph. 


Fig. 1102. Loyster press for printing and die cutting milk 
bottle caps and similar articles. 


drawn on the cylinders, then the brass pins, without heads but with 
flat tops of different shapes—square, round, hexagon—and other 
material are inserted as necessary to form the printing surface. 

The cylinders for silk and cotton are engraved or etched intaglio 
on a copper shell which is pressed over a steel mandrel and when 
printing the ink is scraped off the raised surfaces with a knife just 
before the cylinder comes in contact with the cloth, the ink remaining 
in the design, which is represented by the depressed parts of the surface 
of the cylinder, and as the impression is made the ink is taken from them 
as in the process of printing rotary photogravure. 

The special press for printing in two colors and die cutting milk 
bottle caps and similar articles, as shown in Fig. 1102, is fed from the 
roll, using cardboard 13 inches wide. A printing head for printing flat 
electrotypes eight-up is employed for each color, and they are so con- 
structed as to be adjustable for register with each other and with the 
cutting dies. As the web of cardboard passes intermittently under the 
printing heads, it is printed first in one color, then in the other. It 
then advances step by step to the cutting dies, by which the printed 
caps are cut out eight at each impression, and are deposited on a can- 


LETTERPRESS PRINTING 481 


vas belt and conveyed into a paraffining machine where they are 
coated with hot paraffine on both sides and edges and delivered at the 
rate of 75,000 per hour. 


COST OF PRINTING 


The successful printer—and the successful one will in the end give 
greatest value for money expended with him—bases his charges on the 
cost of production. He has an accurate system of timekeeping and 
costs, which enables him to make proper charges. The items involved 
in compiling the cost of any piece of work include the preliminary work 
in laying out the job, if this has not been done before it was turned 
over to him, the composition—hand or machine, or both—proof-read- 
ing, correcting the proof, making alterations, the imposition of the 
forms, the locking up of them, the makeready on the press, reading 
the press proof, the press work, the ink, the bindery operations, as may 
be required, the cost of stock, art work, engraving, or any other mater- 
ial that may have been used in the job, delivery of the finished product, 
distribution of the used type back into the cases and the wrapping, 
filing and storage of plates. And to this must be added a percentage 
for expenses such as salaries, light, rent, heat, spoilage, depreciation, 
non-chargeable time, interest on investment, etc. 

Miscellaneous job work can not be billed fairly, either to the buyer 
or producer, at a fixed rate for stock, composition, presswork or binding. 
The cost of paper will vary depending on the size, quality and quantity 
and the amount of matter to be set, as well as the manner in which it is 
to be set and made up must govern the cost of composition. Extremely 
light weight papers, as well as very heavy ones, and forms containing 
many vignetted halftones or large areas of solid colors, are difficult to 
handle and therefore can not be printed as speedily as forms made up 
of a moderate amount of type matter and printed on medium stocks— 
these conditions as well as the size and kind of press and amount of 
ink must determine the cost of the presswork. Likewise binding ma- 
terials and operations, under different conditions vary greatly in cost, 
thus the only equitable method of estimating and billing the labor on 
any job is on the hour cost basis, while materials must be billed on the 
basis of actual cost. 

GENERAL 


All work produced in an experimental way at the customer’s re- 
quest is considered an order; hence, all composition, sketches, draw- 
ings, plates, press work and bindery work and materials, although 
used in a preliminary way, are charged for. 

While prompt delivery is an essential requisite to good service, 
every department to which the work must go should be given at least 
a reasonable length of time in which to contribute its part toward the 
work. Unreasonable demands for delivery usually result in errors of 
a more or less serious nature and the general quality can not be brought 
up to that which might be expected if proper time is given for the exe- 
cution of the work. Special rush orders, when occasion arises for them, 
which necessitate interference with other work or require over time 
work call for extra charges, depending upon the extra cost of produc- 
tion. 


A482 COMMERCIAL ENGRAVING AND PRINTING 


The greatest aid that can be given a printer to enable him to turn 
out good work quickly is the proper preparation of copy, which will 
obviate the need of extensive alterations in proof when submitted, thus 
making it possible to send forms to press quickly after the prompt 
return of proof. 

Good printing at the lowest possible price is obtained through co- 
operation with your printer. Give him a carefully prepared, accurate 
layout of what you want; get the copy to him in ample time, as haste 
usually means poorly printed plates on account of lack of makeready; 
smudged copies, because they could not be given time to dry properly 
before handling; and poor printing generally. Don’t hold the proof 
until the day before the job is wanted then expect it to be completed 
on time. See that all changes to be made are looked after before the 
job is on the press, thus saving press time as well as making it more 
convenient to make the alterations. 

The impression often prevails among business men that the smaller 
printing establishments or shops for various reasons can turn out work 
more economically than the large, well equipped establishments. 
Cost finding has established the fact that there should be but little, if 
any difference. 

Machinery and other labor-saving equipment represent a consider- 
able original investment and this together with idle time, deprecia- 
tion and insurance, must be considered as a part of the cost of opera- 
tion; and while the use of such equipment is conducive to efficiency and 
economy of service as well as quality, a charge must be made for it 
commensurate with the cost. 


“Fig. 1125. 


HE literal meaning of the word lithography is ‘writing on 
stone” and until recent years all the designs were engraved or 


drawn on stone and printed from stone. While many of the 
designs for use on stationery and blank forms are still engraved on 
stone, from which transfers are made for offset printing, the greater 
part of the plates used in offset printing are made by photo-mechanical 
processes from drawings or photographs. 

Although lithographic printing has been generally superseded by 
offset printing, some work is still done by the old method and as offset 
printing is a development of lithography a description of the older 
method will be helpful to an understanding of the new. 

The principle involved in working these processes is based on the 
well known fact that grease, or oil, and water will not mix. The lines 
which form the subject to be printed are laid upon the plate or stone 
with a greasy ink and during the process of printing the remaining 
surface is kept constantly dampened with water. As the ink roller, 
which carries the same greasy ink as used in making the design, passes 
over the surface, the ink adheres to the lines in the design but is rejected 
by the remainder of the surface which is damp. The paper to be printed 
is then placed upon the plate or stone, pressure is applied, and the 
design thus imprinted upon the sheet. The plate or stone is then 
re-damped and re-inked for each printed impression taken. 

Lithographed work and offset printing may be identified by the 
clean, sharp, fine lines which are in a soft, even color, such as is notice- 
able on stationery printed by these methods and the uniformly well 
covered solid surfaces on large work, such as posters. Another indica- 
tion of it is the absence of any trace of indentation of the printed 
design on the reverse side of the printed sheet that might have been 
caused by squeeze in making the impression as in letterpress printing. 


ORIGIN OF THE PROCESS 


It was in 1796 that Senefelder discovered, near his home in Bavaria, 
a certain limestone formation which possessed an equal affinity for 
both grease and water. The story is that he chanced to write some 
memoranda on a convenient stone with crayon, and the idea then 
occurred to him to endeavor to obtain an impression on paper by cov- 
ering the letters with printing ink. It worked, and Senefelder, being 


*Square halftone, 133 line, no line. Made from a wash drawing. 


A484 COMMERCIAL ENGRAVING AND PRINTING 


very anxious to discover some cheap method of printing, soon per- 
fected the process to a point where it was available for commercial 
purposes. While the process was continuously developed, its greatest 
growth both as to volume of work produced and the quality of it has 
been since the advent of the offset method of printing. 


USES AND ADVANTAGES 


It is well adapted to, and extensively used for, printing bank and 
office stationery, such as letterheads, checks, drafts, stock and bond 
certificates, insurance policies, diplomas and other forms that must 
be printed on a paper capable of being easily written on as well as 
being well printed. It is practically impossible to obtain on the papers 
usually used results that will compare favorably with those obtained 
by this method, by printing such work from type or relief plates on 
letterpress, especially if the work embodies a design or illustration in 
fine line, halftone or stipple. 

By far the greater part of the better class of labels, in one or more 
colors, is printed by this method. This is true not only because of the 
high class work it is possible to produce, but also because of the reason- 
able cost of large quantities, for the design can be duplicated at small 
cost and this permits the printing of several at one time, thus reducing 
the number of press impressions. 

Until the advent of three and four color halftone process plates, 
all of the better color printing was done by lithography. Offset printing 
is now used extensively in the production of art subjects, magazine 
covers, calendar backs, display and street car cards, hangers, etc., in 
competition with halftone process color work. 

It is also extensively used for posters in one or more colors for bill 
boards and other large display work, because of its low cost as com- 
pared with that produced by other processes. 


CLASSES OF WORK 


The details of the process differ according to the requirements of 
the work in hand. It might be grouped into three general classes of 
work-—‘‘ink” or “line,” “chalk” or ‘“‘crayon” and = -photegrapait=s 
The first is used to designate the various forms of black and white, com- 
monly called commercial printing; the second to designate poster work 
and the reproductions of art, usually in colors, and the third photo- 
mechanical processes by which drawings in line, pencil, crayon or wash, 
and photographs, may be reproduced in press plates for offset printing. 
In line and crayon work, the design may be drawn directly upon a 
printing plate or stone, or engraved on stone to be transferred to the 
printing plate, or drawn upon transfer paper and then transferred to 
the printing plate or stone. Fine line work must be engraved on stone 
or photographically reproduced from drawings as it cannot be drawn on 
a metal plate. Methods are also modified to meet existing shop condi- 
tions, as the personnel and equipment in one shop might make a 
method practical there that would be impractical in another shop. 


LITHOGRAPHY AND OFFSET PRINTING A485 


LITHOGRAPHIC STONES 


The best stones for lithographic purposes still come from Bavaria. 
Stones of a similar composition are quarried in other parts of the 
world, but their quality is somewhat inferior. They are furnished to 
the trade in slabs three to four inches thick, and ranging in size from 
6 x 8 to 44 x 62 inches in area. These stones vary in color, being found 
in light and dull shades of cream, dull yellow and gray. When the 
design is sketched directly on the stone, a light, even color is desirable, 
in order that the lines may be visible, but for transfer work this is 
immaterial. 

The surface of the stone has to be very smooth and level before 
the subject matter is placed upon it. The smoothing is accomplished 
by grinding the face with sand and then polishing with pumice stone 
and emery. It is also necessary that the reverse side be relatively 
parallel with the printing surface, or the pressure applied in printing 
would cause breakage. 


SKETCHES 


As in other processes of engraving and printing, when an original 
design is being made up, the first step in the making of a lithograph 
job is the preparation of the sketch or rough layout. After this has 
been approved, a tracing of it is made from which a rough transfer is 
taken to the stone on which it is to be engraved. In case the sketches 
are not made by the lithographer, the artist should, of course, be told 
. that the sketches are to be reproduced by lithography, so that a 
design may be made which is practical for lithographic reproduction. 


ENGRAVING THE STONE 


The stone after being carefully cleaned is polished with a thin solu- 
tion of gum arabic, which is then washed off, leaving a thin film of the 
gum in, rather than on the stone, thus making the entire surface imper- 
vious to grease. The design having been traced from the sketch to 
the stone or sketched on the stone, then is scratched (engraved) in 
the film of gum by means of sharp pointed steel tools. The subject or 
design is engraved backwards, or in the reverse position, so that when 
the impression is pulled from it, the print will be in the right or positive 
position and thus read from left to right. The engraving is a very 
tedious process, as practically all of the work has to be done under a 
magnifying glass and with great care. This applies to commercial 
work such as letterheads, etc., in which the detail is small. While of 
course care must be exercised in engraving larger subjects, the use of 
the magnifying glass is unnecessary. The engraved lines are made very 
shallow, the aim being to cut only through the prepared surface, which 
is very thin. This uncovers the absorbing qualities of the stone at 
these points, and it will then take the ink. The amount of work neces- 
sary to make an engraving and the time it takes can hardly be appre- 
ciated without seeing it done. It often takes several days to complete 
a very small picture, such, for example, as a view of a large build 


A486 CoMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 133 line. Made from a slightly retouched photograph. 
Fig. 1126. Engraving on stone. 


After the pictorial and decorative parts and the special designed 
lettering have been engraved, the smaller lettering is engraved with 
an engraving machine or by hand, or it may be added later by trans- 
ferring, if the lettering is to remain a part of the original engraving, 
otherwise the lettering would be transferred direct to the printing 
plate, since practically all patching of proofs from type or other pre- 
pared designs is made up at that stage. The shaded background and 
vignettes, as well as the shading on lettering and other ruled work, are 
etched on the stone after the special ground for it has been prepared 
and ruled with a ruling machine similar to that illustrated in Fig. 1127, 
the diamond point on the machine cutting lines through the prepared 
surface and permiting the chemical when applied to act on the surface 
of the stone. 

The ruled shading and mechanical stippling may also be done with 
a shading machine, using a transfer ink, in which case this part of the 
work must be done after the incomplete design has been transferred 
to the printing stone or plate. 

Nearly all black and white lithographic work is first drawn or 
engraved by hand upon small flat stones, about 6 x 8 inches in size and 


Outline-vignette halftone, 150 line. Made from a black on white print from halftone, 150 line, four inches wide. 


Fig. 1127. Lithographic ruling machine. 


LITHOGRAPHY AND OFFSET PRINTING A487 


Outline-vignette halftone, 133 line. Made from a slightly retouched photograph. 


Fig. 1128. “Sticking up” transfers on a layout sheet. 


about three inches thick. From these the engraved subjects are after- 
wards transferred to facilitate printing, and to preserve intact the 
original engraving, to a much larger printing stone which is used on 
the lithographic printing press, or to a plate for offset printing. 

Small stones are used because they are more convenient for the 
engraver to handle, and they occupy less space when filed away; also 
because, as the designs become obsolete, the smaller stones holding 
only a few designs, can be ground down quickly and used again or 
discarded; whereas large stones holding many designs might have to 
be preserved for a long time even though most of the designs engraved 
on them were obsolete. 

The fact that transfers can be inexpensively made from the original 
engraved stone makes it practicable to run more duplicates in one 
form by lithography than by any other process. This greatly shortens 
the time required for press work in running off large editions. The 


S <a oe ee : a 
Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1129. Transfering transfers on a layout sheet 
to the printing plate or stone. 


488 CommerctAL ENGRAVING AND PRINTING 


size of the paper used is seldom less than folio (17 x 22) and usually 
double this size or larger on a large order. 

Thus it will be seen that letterheads, which are usually 8% x II 
inches, are printed either four or eight at one impression. The proper 
number of duplicates of the original design is transferred to the print- 
ing stone, and after printing the sheets are cut apart. This same process 
of transferring multiple copies of the design to the printing plate, so 
as to print several at one impression, is especially made use of in print- 
ing labels, checks, drafts, small cartons, etc., when large quantities 
are being produced. 

When the engraving has been finished the lines are rubbed with 
linseed oil, then the surface of the stone is dampened and the design 
inked in, after which an impression or proof is taken on paper. Alter- 
ations, if any are necessary, are made by removing the gum, and 
re-preparing the surface of the part to be corrected, and then re-en- 
graving as necessary. After corrections have been made, the engraved 
design is properly fixed on the stone by inking, cleaning, and such 
other treatment as necessary. 


TRANSFERS AND TRANSFERRING 


As previously explained, the stones upon which the designs are 
originally engraved, are not ordinarily used to print from. The designs 
are transferred from these stones to the printing plates, which are at 
least slightly larger than the sheet of paper to be printed. The design 
is usually duplicated a sufficient number of times to fill the sheet 
entirely, or possibly a combination sheet may be made up either of 
several items for the same customer, such as letterheads of regular 
size, two-thirds and one-half size, statements, remittance forms, etc., 
or letterheads or other work for two or more customers, when the same 
kind of paper stock is being used and when the quantity to be printed 
‘s the same of each, or when the correct quantity can be obtained by 
doubling some of the forms. 

The process of transferring the design from the engraved stone to 
the printing plate is as follows: Transfer papers are prepared by 
coating the sheet on one side with a gelatine-like film which is capable 
of picking up a print from the engraved design when brought into 
contact with the greasy ink with which it has been saturated. This 
transfer paper is placed face down upon the engraved design which 
has been inked in, and an impression is taken with a hand press. 

A number of these transfers are prepared, either duplicates of the 
same subject, or reproductions of different subjects, and are carefully 
arranged on a layout sheet of the same size as the sheet that is to be 
used in printing, and all transferred to the printing stone or plate at 
one operation. The hand press shown in Fig. 1129 is used for making 
the impressions from the original engravings on transfer paper, also 
for transfering these prints after they are assembled on the layout 
sheet to the printing stone, or zinc printing plate if to be printed by 
the offset process. 


Pages 481 to 488, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


LITHOGRAPHY AND OFFSET PRINTING 489 


Fig. 1132B. Photolithograph (133 line) printed 
by the offset process. 


Fig. 1131B. Lithographed from stone. The transfer to the 
printing stone was made from an engraving on stone. 


Fig. 1130B. This subject was printed by the offset process 
from a transfer from the same engraving 
as used for Fig. 1131B. 


Pad 489 to 496, inclusive, are printed on White Certificate Bond, 20x28, Substance 24, made by Crocker-McElwain 
Company. Holyoke, Massachusetts. 


490 COMMERCIAL ENGRAVING AND PRINTING 


—— Se = prema: ] 
LUDINGTON,. ee ee br oy reo NEE: 

pe EON — or CHASHOOR cKO OY PEIERTON! ) pS - 

| APRIEe... ete. aA 2 ee ORy Xno> | ye | 


| pa Ki Tr" NEN GRANTE | 
4 A ! 0% AON 


yer. } oKIPLING 


} g R 
¢ DAKDALE * 


’ 


: 
: 
j 
i 


Fig. 1134B. The separate engravings for a three color subject. Pen 
stippled on stone and printed by the offset process, 


Neste) en en ee eo aa ieee 


Fig. 1135B. Drawn in crayon and etched on stone. 
Printed by the offset process. 


LITHOGRAPHY AND OFFSET PRINTING 49] 


ANY Bee 
CORN NY PN RAT 
i Ny My AN KY ; 
oY” ANWR 
AHN 4 


Ni, NZ 
WQS 
mh 


1 
Yok 


EY 


pes 


mT 


/ r y / \Geaes i LVR BB KNiih<gZ Vip NYANS 
YA, ty i AY S LAs CURRY } i % RYH f ie 

nt Hy Hw i) AAW BA A BE uy Ny A awe ae Ht N th 
UT, “Or” + A. Wanwes4 277.) ph bi 


SOP ARS Sa 
0° ve 


phan ; THIN FL TRS ay Att 
4 THT} Qed Ware Ad. | bfartheg UP eea tree ancnelh 
Ny ) Ci Ah Weed Nt »: f Manat AY Ki i . 
HT uy ML KK ¢ yt Y AY 
XK 
a@. 4 


tA 


Fig. 1136B. Units engraved on stone, transfers from which are used in 
making up special designs. Printed by the offset process. 


+ 


492 COMMERCIAL ENGRAVING AND PRINTING 


; ‘ pe ORDER OF 
Ene 


VME GI 


ZO 
Ye TO) THE: 


Sare Deposit Boxes For RENT 


5 IN FIRE PROOF BUILDING. 


Fig. 1137B. Group of check forms. The original designs and units were 
engraved on stone and transfers from them were grouped. ® 
Printed by the offset process. 


LITHOGRAPHY AND OFFSET PRINTING 493 


CIAL NATIONAL BankK No. 
Ade 


DIANAPOLIS, ND. 


Rye ee 


poe Ind. 12. ~Ne 


_— 
BAIN es 
KK 


DAWN | i 


Ali titles and headlines on pages 489 to 496, inclusive, were printed from type by letterpress. 


494, COMMERCIAL ENGRAVING AND PRINTING 


we. 


HayvyTrocKk-CRONEMEYER 


NEw YORK, 


im 


utomobile 


MERIDIAN AT ST.JOSEPH STREET 


Indianapolis bel 


\ “y ~~ 
\ Bye 
WHT, NAT ms 


Sy uN) dia 


\. 
Soo Wo a YW acme ON TAK AN a Bs 1D) Ce) ol 


GOW & G. wR 


M NW c CO 9} mom  & ~ BY AES ~~ Tv I TN! + 


HAY, GRAIN, DAIRY, LIVE - STOCK AND POULTRY 
FEEDS,FLOUR ano FIELD SEEDS 
BALE TIES ano SALT 


Wet’ 


WAN _ WN 


515 TO 556 SOUTH SENATE AVE. 


INDIANAPOLIS,IND. 


SNA OLS) 


SEGRE ARRSERR | NSS RR RNUNNNT™ 


Fig. 1138B. Letterhead designs. Printed by the offset process from 
transfers made from engravings on stone. 


alae walks. 


LITHOGRAPHY AND OFFSET PRINTING 495 


INCORPORATED 


ox K 
<s5 SOc’ y 


STFOR | woM EN WHO CARE” 


JACKSON, MICH. 


Fig. 1189B. Letterhead designs. Printed by the offset process from 
transfers made from engravings on stone. 


4 


HORSES ERY 


NEPAL 


SRR Ne 


AEWA Ae 


Seg 
ey 


AEN SY AR 


are! 
=f 


AE 


2 


rial! toh 


6 


COMMERCIAL ENGRAVING AND PRINTING 


ote OS eG me 


2 : @ rae - 
a ees " : 
5 af 


SOT OE RRR LE EB 


NEW YORK,U.S.A. 


12 FLUID OZ. 


~) & 


MONUMENT BEVERAGE Co. 


a AEST. 


Fig. 1140B. Two-color labels printed from stones. The separate original 
designs were drawn and etched on stone and from these the 
transfers were made and grouped for the printing stones. 


~~" 


. ans a “a a = es en oe es : + %, Te eo 
Ke CAP GRAIY BESS Ag Pe ake Seah PDE PR GE SRN pe 


LITHOGRAPHY AND OFFSET PRINTING 497 


In making up the layout sheet, or sticking-up the transfers—as 
the operation is called—the transferrer marks the cutting lines to 
indicate just where the sheet to be printed is to be cut, and also marks 
off the position of the point dots where the sheet is to fold as it goes 
through the folding machine, if the sheet is to be folded after printing. 
It is, of course, essential that the transfers be correctly imposed on 
the sheet, with the right amount of margin between, as there is no 
opportunity for shifting parts of the form after going to press, as with 
letterpress printing, and any change in arrangement of form will mean 
removing the plate from the press, and possibly require an entire new 
transfer. 

In transferring to the printing plate the layout sheet is laid upon 
the plate and the transfer made by pulling the plate with the sheet 
on it through a transfer press. Afterwards the paper is dampened, 
then pulled away, and the work—with a whole or a part of the gela- 
tine film—left on the plate. The transfer ink penetrates the surface 
of the stone or zinc plate and acts as a foundation susceptible of taking 
more ink. Most transfer paper is made from rice straw and is imported 
from China and is especially adapted to the work, because it is readily 
dissolved with water, and is therefore easily removed from the printing 
stone after the transfer has been made. 

Much care must be exercised in making the proofs of the engrav- 
ings for transfer and the transferring of them to the printing stone or 
plate. They must not only be clean and carry just the right amount 
of ink and include every dot and line in the original engraving, but 
they must also be placed exactly in the correct position on the printing 
stone or plate, where they must be carefully worked up, so as to pro- 
duce the best possible print. The printing stone or plate must also be 
freed from every particle of surplus ink and other defects, so that only 
the design to be produced will print; otherwise there will be imper- 
fections in the printing to mar or ruin the work. 

All lithographers accumulate a large number of engraved headings, 
borders, corner pieces, decorative designs, date lines, etc., which can 
be used in numerous jobs. By using these stock engravings, in com- 
bination with a newly engraved design of the principal part of the 
new subject, it is possible on this account to fill some orders at a less- 
ened expense to the customer. This also makes it possible to produce 
some work on special orders in small quantities at reasonable cost. 
However, when the quantity ordered is sufficient to justify the expense, 
or when the customer is willing to meet the cost, a special engraving 
is usually prepared for the entire subject. Many new organizations, 
for instance, are not satisfied with stock designs for their certificates 
and call for special forms with different wording and designs; or a 
college may wish a diploma entirely different from anything that has 
been made; and in such cases entire new engravings must be made. 

Borders, corner pieces, and other work in which the same designs 
or certain parts are repeated in the complete make-up of the subject, 
are seldom engraved complete, but only a small section, one corner— 
aerighe anda left, étc.; are engraved and as many transfers are taken 
from these as are needed, and these are patched together to form the 


498 COMMERCIAL ENGRAVING AND PRINTING 


complete subject, all at a saving to the customer and without impairing 
the quality of the finished work. 

A few faces of type, such as gothic, are made in some of the smaller 
sizes to be used especially in offset work. The letters are made 
reversed to their usual position, hence such type cannot be used for 
regular letterpress printing. The type lines are set in the usual way, 
proof is taken on a job press, with transfer ink on transfer paper, and 
the print is transferred to the printing plate, making only one transfer 
necessary, and not only saving the time for engraving the lettering, 
but insuring more nearly perfect work. 

If standard type is used in making transfers for stone printing, a 
proof is made on a transfer paper and this proof is transferred to the 
printing stone. Otherwise the lettering would read backwards. On 
the other hand, when proof is used from ordinary type it must be 
transferred from a transfer to the zinc printing plate when used on the 
offset press. This is usually done by transferring from wet paper to 
dry paper and then to the plate or it may be done by transferring to 
a piece of rubber blanket and from the blanket to the printing plate. 

Prints from wood engravings, line etchings and other plates may 
be transferred to stone or zinc for printing, at slightly less than the 
cost of re-engraving, but usually to the detriment of the work. 

The ink used for writing or drawing on stone or zinc is known as 
“‘tusche.”’ It is also made in a solid form to be used as crayon. 


ETCHING 


After the design or designs have been transferred to the printing 
stone, the surface of the stone is etched with a weak acid solution, 
which has the effect of making the inked lines stand out more sharply. 
The ink used to form the design resists the action of this acid, but 
elsewhere the acid attacks the carbonate of lime, of which the litho- 
graphic stone principally consists, setting the carbonic acid free, which 
passes off in minute bubbles, otherwise known as effervescence. In 
other words, the acid ‘‘eats away’’ the surface of the stone to a very 


Outline-vignette halftone, 133 line. Made from an unretouched photograph on which the vignette was painted. 


Fig. 1141. A printing stone (25 x 38 inches) from which two hangers, 
each 19 x 25 inches, was printed in one color. 


LITHOGRAPHY AND OFFSET PRINTING 499 


Outline-vignette halftone, 133 line. Made from a photograph of a retouched photograph. 
Fig. 1142. Hoe flat-bed lithographic press. 


slight depth, and leaves the lines which form the design standing 
slightly in relief. There is so little difference between the height of 
the two surfaces that to the novice it would scarcely be noticed, and 
it is so slight that there is never any difficulty through the part in 
relief causing an indentation in the paper when printing, as is nearly 
always noticeable in letterpress printing. Needless to say, the gelatine- 
like film which was left upon the stone during the process of trans- 
ferring is all washed away and nothing remains but the print in greasy 
ink which forms the subject to be reproduced. After the process of 
etching has been completed, the stone is coated with a solution of gum 
arabic, which enters the pores of the stone and prevents the further 
absorption of the lithographic inks. In other words, it holds the 
printing ink to the lines of the design and prevents it from spreading. 
The printing stone is now ready to be put on the press. 


UNPRINTED STOCK 


INK ROLLERS 


INK FOUNTAIN pt ~~ 


= OO000 


Line etching on zinc. Made from a pen drawing on which proofs of the lettering had been pasted. 


Fig. 1143. Diagrammatic view of Hoe flat bed 
lithographic press. 


500 COMMERCIAL ENGRAVING AND PRINTING 


LITHOGRAPHIC PRINTING 


In lithographic printing the surface of the printing stone must be 
dampened, as well as inked, for each impression, and the presses are 
equipped with automatic dampening rollers for this purpose. These 
rollers supply only enough moisture to the stone just before it is inked 
for each impression to keep the greasy ink from adhering to any part 
save the design itself, but not enough to cause the sheets to be damp 
when they are delivered from the press. Aside from this dampening 
feature, these ‘‘steam presses,” as lithographers call them, are practi- 
cally the same thing as ordinary flat bed cylinder presses. They are 
about the same size and few are equipped with automatic feeders. 
However, the inking rollers, instead of being made of composition, are 
made of leather, or rubber, the outside covering fitting tightly over the 
stock with the nap side of the leather out. The damping rollers are 
covered with flannel. 

Very little time is required for makeready on the press, after the 
printing stone to which the form has been transferred has been placed 
in position. The guides are set, fountains supplied with ink and water 
and sheets are fed as in letterpress printing on a cylinder press. 


COLOR LITHOGRAPHY—DRAWN WORK 


This may be divided into three classes of work: Plain work as 
used for ordinary labels, cards, etc., tinted work for subjects of a more 
artistic character; and a combination of the two for the production of 
certain other artistic subjects. 

In color reproductions a number of drawings are made, which 
when printed in their respective colors and superimposed—or placed 
one on top of the other—will produce a facsimile of the original subject. 
For the reproduction of any subject in colors a number of different 
color plates are required, and in the finest art work some twenty or 
thirty plates or stones may be employed. Each color requires a separate 
plate, and it may be necessary to have separate plates for several 
different shades of the same color. Four colors, yellow, red, black and 
blue are largely used for poster and label work, and to these are often 
added pink, light blue, gray and gold. By conforming to a standard 
scale of colors, economy in the output of an establishment is often 
effected, through the saving of presswork by combining work from 
several customers on the same sheet and which is called a ‘‘combination 
sheet.” 

The artist generally executes the design directly on the face of 
the printing plate or on transfer paper, by the use of crayons or pen 
and ink. Certain kinds of subjects demand stipple work and grada- 
tions'in the background, which are difficult to handle in engraving 
the work cn a plate, especially when a number of plates have to be 
made from the same copy, in which case the design is first executed 
on specially grained transfer paper. 

One of the difficulties which the artist experiences in writing or 
drawing directly on the printing stone is that the work has to be pro- 
duced in a reverse or backward position to that in which it will appear 
when printed. 

The first operation is that of making a “key.” This is a copy in 


LITHOGRAPHY AND OFFSET PRINTING 501 


faint outline of the original on specially prepared tracing paper, show- 
ing by lines and marks where the different colors are to go. After 
this drawing is made, it is chalked, i. e., traced with lithographic ink, 
placed face down on the plate, and the design is transferred to the 
plate by rubbing. This is done on as many different plates as there 
will be different colors in the finished work; all being made from the 
same key, which will enable perfect register to be obtained in printing. 
The artist then chalks or paints each plate according to the color to 
be printed from it, so that when the colors are all printed, one over 
the other, the result will be a finished picture, or design. 

Owing to the fact that illustrations made by this method are drawn, 
the reproductions are not so true to nature or as lifelike as those 
obtained through a photo-mechanical process. It also requires a fine 
knowledge of art for the workman to decide just what proportion of 
each color he should use in order to produce the exact result desired, 
while the camera as used for process color work does this with approxi- 
mate accuracy. Since grained transfer paper came into use, the design 
is not often sketched direct on to the printing stone, because it is 
awkward to write or draw in a reversed position and if the drawing is 
made on the transfer paper it may be drawn in the same position in 
which it is to be printed. Except in very large editions, lithographic 
color work is rather expensive, on account of artists’ and workmen’s 
time necessary to prepare it for printing. 

Lithographic craftsmen, as a rule, take up some particular style or 
phase of the work for which they are best suited, to the exclusion of 
all others, such as the engraving of lettering, buildings, decorative 
designs, transferring, presswork, etc., and the firms doing lithographic 
printing usually specialize in some particular branch of the industry, 
such as bank note work, label and carton work, the manufacture of 
calendar backs, poster work, etc. 


IN A GENERAL WAY 


The principles of lithographic printing are applied in so many 
different ways that it is possible to adapt it to almost any class of work, 
and the cost will depend not only on the method employed but on the 
amount of labor and material in each job, as well as the equipment 
used. 

In estimating cost, the expense of producing the original engraving 
is usually included at little above actual cost, the lithographer consid- 
ering the ownership of the engravings as being of advantage to him 
on re-orders. On account cf having the original plate cr stone on 
file, he is able to quote a lower price on repeat orders than would be 
possible if it were necessary to engrave the subject again, and since 
a new engraving would be necessary if subsequent orders are placed 
with any other concern, he will have this much of an advantage. 

Pages of tabular matter in which elaborate rule work is embodied 
may often be reproduced and printed by lithography better than by 
any other method. The rule work is engraved on the printing stone 
and the type matter is set as straight matter. Transfer proofs of the 


Pages 497 to 504, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


502 COMMERCIAL ENGRAVING AND PRINTING 


type matter are made and transferred to their respective places on the 
stone. Such matter printed in this manner does not show the rule 
impressions on the reverse side of the sheet; the sheets will lie flat, 
and the quality excels that which can be done with like subjects on 
the letterpress. 

Unless the printing stone is to be used frequently on repeat orders, 
it is not practical to preserve the transferred design on it, because of 
the increasing investment in stones as they would accumulate and of 
the inconvenience in caring for them. Thus, usually after the printing 
has been finished, the surface of the stone from which the work has 
been done is planed down or ground off, rubbed and polished, and 
made ready for another job. 


THE USE OF METAL PLATES 


While the lithographic stone is the most perfect substance known 
for lithographic engraving, drawing and printing, zinc and aluminum 
plates are now used to a great extent on account of certain advantages 
they possess. The danger of breakage is eliminated, they can be 
handled and stored with ease and their original cost is much less than 
stone. The metal plates are also good for long runs, as high as half 
a million impressions having been obtained from one plate. They also 
make possible the use of a rotary press, because the metal plates can 
be curved to fit the cylinders. 

Aluminum offers the best surface for lithographic printing but 
prepared zinc plates are obtainable, which have been specially treated 
in a way that gives them a bright, white surface equal to aluminum. 
This treatment also lessens oxidation and the ink lines from the trans- 
fer sheets enter into the surface more readily, while the increased 
porosity holds the moisture better during the process of printing. 

The method of drawing the design upon metal plates or trans- 
ferring the subject to the surface of a metal printing plate differs very 
little from that used for stone if the work is to be printed on a flat bed 
press. The manner of etching is practically the same as for stone. 


PHOTOLITHOGRA PHY 


In photolithography the image is first obtained photographically 
through the action of light upon a sensitized film, as in other photo- 
mechanical processes, but after transferring the image to the stone or 
plate the method employed in printing is exactly the same as in other 
branches of lithography. The image may be secured on the plate by 
transferring directly from the photographic film; by transferring from 
an engraved intaglio plate; or by photoprinting directly on the metal. 
It is necessary that the subject to be copied should consist of visible 
lines and dots, and before the discovery of the halftone process only 
line drawings could be reproduced by photolithography. The making, 
or ordering, of halftones to be printed by this method should be left to 
the lithographer. 

A photographic negative is first made, in which the lines repre- 
senting the subject to be reproduced show transparent, while the 
remainder of the negative appears opaque. When the specially pre- 


LITHOGRAPHY AND OFFSET PRINTING 503 


pared transfer paper is exposed to the light under this negative, in a 
photographic printing frame, a chemical change takes place in the 
light-sensitive gelatine with which the paper is coated. Where the 
light passes through the transparent part of the negative, conforming 
to the image, the gelatine is made insoluble, and the transfer ink will 
adhere to the lines or dots composing the image, while the gelatine on 
the remainder of the surface is left in a soluble condition and is washed 
away in developing. The transfer of the image to the printing stone 
or plate is then made in the regular way. 

It is sometimes preferable, instead of using the transfer method, 
to print the subject directly upon the plate. This eliminates any 
chance of distortion. The plate, which is finely grained and sensitized, 
is exposed under a reversed negative. A reversed image is thus formed 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1144. Scott rotary offset press showing the zinc printing 
plate and the rubber offset blanket. 


on the plate, which when imprinted on paper will appear in the correct 
position. The makers of the sensitized plates also furnish special 
etching solutions adapted to the requirements of the particular kind 
of plate they manufacture. 


THE OFFSET PRINTING PROCESS 


Offset printing is an adaptation of the principles of stone lithog- 
raphy and derives its name from the fact that the printed impression 
is made from a thin flexible metal plate curved to fit a cylinder, first 
upon a revolving cylinder covered with a rubber blanket, which in 
turn “‘offsets”’ it on to the paper. A “‘close-up”’ view of a press of this 
type is shown in Fig. 1144. The zinc printing plate is shown on the 
large upper cylinder, and the rubber offset blanket carrying the print, 
on the large cylinder just beneath. The impression cylinder to which is 
fed the sheets of paper to which the print is to be offset is immediately 
back of the blanket cylinder but not visible in this view. 


504 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 150 line. Made from an unretouched photograph on which the vignette was painted. 


Fig. 1145. A zinc printing plate as used on the offset press. 


Offset printing now leads all other kinds of printing in the litho- 
eraphic field, and with the aid of photo-mechanical methods, it is 
possible to produce all kinds of illustrated matter, obtaining the photo- 
graphic effects as from halftones printed on the letterpress. Work 
produced by this process, however, is slightly less strong in color and 
sharpness of lines than that produced by direct stone lithography or 
by letterpress printing from halftones, line etchings or type. 


THE OFFSET PRESS 


The essential part of the offset process is, of course, the offset press 
which consists principally of three cylinders of equal circumference, 
the plate cylinder, the blanket cylinder and the impression cylinder. 
These revolve so that the rubber blanket, which is about one-eighth 
of an inch thick and is carried on the surface of the blanket cylinder, 
comes in contact first with the printing plate (which is carried on the 
surface of the plate cylinder) and then in contact with the impression 
cylinder. Two sets of rollers are provided, one covered with flannel 
or molleton for distributing moisture to the non-printing surface of 


the zinc plate, and one covered with leather with the nap outward 
body. 


Outline-vignette halftone, 150 line. Made from a photograph of a retouched photograph. 


Fig. 1146B. Wagner offset hand proving press. 


LITHOGRAPHY AND OFFSET PRINTING 505 


Fig. 1147B. Offset print from . Fig. 1148B. Offset print from 
the yellow plate. the red plate. 


OF mac ; * = # 


Fig. 1149B. Offset print from Fig. 1150B. Offset print from 
_ the black plate. the blue plate. 


Four of the six colors used in printing by the offset process Fig. 1157B. 


All titles, headlines and text on pages 505 to 512, inclusive, were printed from type by letterpress. 


506 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1151B. Offset print from Fig. 1152B. Offset print from 
the pink plate the gray plate. 


‘ 
pe ee a ee ee 


Fig. 1153B. The yellow and red Fig. 1154B. The yellow, red and 


superimposed. black superimposed. 


Fifth and sixth colors and progressive steps in printing Fig. 1157B. | 


Pages 505 to 512, inclusive, are printed on 25x38—70 Ib. Allied Dependable Ofiset, white, made by Allied Paper 
Mills, Kalamazoo, Mich. a 


LITHOGRAPHY AND OFFSET PRINTING 507 


Ormacu° | a fo Ce ee ee ©@FMacnt Pe ae Met Ter Ss eck ee ee ‘Miah 
Fig. 1155B. The yellow, red, black Fig. 1156B. The yellow, red, black, blue 
and blue superimposed. and pink superimposed. 


pl ri ae te 


Fig. 1157B. The complete subject, printed in six colors—yellow, red, black, 
blue, pink and gray—in the order named by the offset process. 


Fig. 1158B. Register and color scale. | 


508 CoMMERCIAL ENGRAVING AND PRINTING 


for distributing ink to the lines of the design that is to be printed. 
During the process of printing, the design is first imprinted upon the 
rubber blanket which in turn ‘‘offsets’” it upon the sheet of paper 
passing. between the blanket cylinder and the impression cylinder at 
their point of contact. The rubber blanket is used principally because, 
owing to its resiliency, the fine lines of the design are evenly imprinted 
upon the surface of the paper even though it may be paper with a 
rough hard finish such as bond and antique finish papers. By the offset 
process a design consisting in part of fine lines can be imprinted upon 
paper of this character in a way that would be impossible if the im- 
pression were made directly from the zinc plate or from a line etching 
used on an ordinary relief printing press, or from a lithographic stone. 

The basic principle employed in offset printing is the same as that 
employed in printing from stone, namely that grease and water will 
not mix. It was found that if the surface of a zinc or aluminum sheet 
was properly grained and then dampened it would retain the moisture 
a sufficient length of time to permit its being used for printing in the 
same way that a lithographic stone is used. In other words, if the 
design or form to be printed is transferred with a greasy ink to this 
grained surface the remainder of the surface caii be kept sufficiently 
damp to prevent its accepting ink from the rollers which are used to 
distribute ink to the design. Aside from the fact that zinc or aluminum 
sheets are used instead of stone, and a rubber blanket used for off- 
setting, the process is practically the same as the process of stone 
printing. 

Zinc is the metal most used because it is cheaper than aluminum 
and for most work answers just as well, although some lithographers 
prefer aluminum because it is lighter in color than zinc and is thus 
easier and more satisfactory to use for transferring, and because it 
has some advantages for printing color work. The sheets used range 
in thickness from 4 to 12 gauge, according to the character of the work 
for which they are to be used, and the presses upon which they are to 
be run. Sizes vary from 15 x 18 to 44 x 64 inches. 

The press shown in Fig. 1159 is designed for rapid production of 
high grade commercial lithography and will handle sheets from 4% x 6 
inches to 17 x 22 inches, or made up envelopes between these sizes as 
well, at a speed of 5,000 or more impressions per hour. It is especially 
adapted to small work and is to the lithographer what the platen press 
is to the printer. 

Sheets from 17 x 22 inches to 36 x 48 inches may be printed on the 
press shown in Fig. 1161 at the rate of 3,500 to 4,000 per hour. The 
press is designed to handle commercial and color work in all branches of 
lithography and offset printing such as catalogs, booklets, folders, broad- 
sides, magazine covers, street car cards, labels, posters, etc. 


PREPARATION OF THE PLATES 


As explained, it is necessary that the surface of the plate have a 
finely grained texture. This graining is accomplished by placing the 
sheet in the shallow tray of a graining machine, placing a quantity of 
glass or wooden marbles, varying in size from one-half inch to three 


LITHOGRAPHY AND OFFSET PRINTING 509 


inches in diameter, and sand upon it together with a slight sprinkling 
of water and then setting the machine in motion, so that the marbles 
and sand rolling over and over the surface will produce the grain. 
The time for graining plates varies but usually is from forty-five to 
sixty minutes. ; 

As soon as the surface of a plate is sufficiently grained it is taken 
out of the graining machine, thoroughly washed and then given a 
bath in a weak solution of alum, nitric acid and water to affinitize or 
prepare the surface to take greasy ink. It is now ready for the transfer. 

Plates may also be procured that have been prepared for receiving 
transfers by electro chemical processes, also by having chemically 
prepared surfaces and others with mechanically prepared surfaces, 
but most lithographers rely on the sand, water and marble process 
of graining. | 

ENGRAVING FOR OFFSET PRINTING 

Most line engravings for offset printing are engraved on stone as 
for printing from stone, except that the subjects are drawn in the 
position in which they are to be printed, i. e., reading from left to right. 

Drawing on metal plates is done exactly as on stone, with pen or 
brush and liquid ink on the ordinary plates, or with crayon on plates 
grained for the purpose. Of course, fine pen line work cannot be drawn 
on zinc. 

Copies for offset work which are in the form of wash drawings, line 
drawings, photographs, retouched photographs, etc., are reproduced 
on the metal by photographic process, commonly called photolithog- 
raphy, using line or halftone negatives as the copy may require 

In reproducing copy that is in colors, to be printed in colors, color 
separation negatives are made as for color process halftones. These 
negatives, and the prints on zinc from them are painted in, etched 
and re-engraved as the work in hand may require. A plate is made for 
each color and in turn transfers from each are made to make up the 
printing plate for each color. Extra plates are often made for printing 
extra colors in addition to the two, three or four process colors, as was 
done in reproducing the subject shown in Figs. 1147B to 1157B, 
inclusive, in which the extra colors used were gray and pink. The copy 
from which this reproduction was made was a drawing done in water 
colors. 

TRANSFERRING 


The design to be printed may be transferred to the plate to be used 
in printing by one of several different ways. If it has been originally 
engraved upon stone for printing from stone, it is transferred from a 
transfer to the zinc plate with transfer paper, in the same way as a 
transfer is made from the engraved to the printing stone in stone 
lithography. The extra transfer is necessary in order that the subject 
may print reading straight, because in the operation of printing the 
design is reversed on the rubber blanket and then imprinted in its 
original position on the paper. Transfers of various designs, type 
forms, etc., may be made from several stones or plates to get the 
required combination. For example, a new engraving may have been 
made of a new building, in which case the transfer for this part would 


510 COMMERCIAL ENGRAVING AND PRINTING 


be made from the new engraving and a trademark design may have 
been supplied in the form of a line etching, the trademark and new 
building to be worked in combination with an old lithographic engrav- 
ing of a firm heading and with lettering which would be transferred 
from type. Thus there would be four sources from which the copy 
for the complete engraving or transfer would be obtained. These 
several transfers are patched together upon a layout sheet the same as 
used for stone printing, each being duplicated as many times as are 
necessary to obtain the required number of duplicates of the complete 
design for printing a full sheet at each impression. If the matter to 
be transferred has been set in ordinary type, the transfer from it 
and the etching is made through a good press proof on special paper 
with transfer ink, and it is necessary to transfer to the metal from 
a transfer of the firm heading in order to get it on the plate in 
the right instead of reversed position. Prints from halftones, line 
etchings, copper and steel plates and other printing plates may be 
transferred to the plate in this manner. To obtain best results from 
type forms or relief plates they should be put on a letterpress made 
ready as for printing and then an impression should be taken with 
transfer ink on dry transfer paper. This impression is then placed 
face down on a sheet of damp transfer paper and the two sheets are 
run through the transfer press, by which operation the print is trans- _ 
ferred to the damp sheet. 

Instead of making halftones, line etchings and other plates by 
photo-mechanical process, from which to transfer, it is possible, after 
making the negatives for such plates, to make prints directly from 
these negatives upon a specially prepared sensitized zinc plate, and, 
after fixing this plate, transfer the image or design thereon to the 
printing plate in the usual way. The sheets of zinc upon which such 
plates are made are usually much smaller than the large sheets used 
on the press. In other words, these smaller zinc plates compare with 
the engraved stones used in stone lithography. The designs photo- 
graphed upon them are usually stock designs and the plates are filed 
away for use in making subsequent transfers. Occasionally, if the 
subject is large and is not intended to be printed in duplicate or mul- 
tiple form, it is photographed directly upon the printing plate. There 
are now in use several different machines for making single or multiple 
prints upon the press plate which are fixed and prepared for printing. 
The prints may be placed in any predetermined position and the plan 
eliminates the necessity of transfers and effects a saving of time in 
registering color plates. 

The prints are made direct from negatives and in the case of a 
subject that is to be duplicated a number of times the sensitized plate 
is mechanically moved from one predetermined position to another 
until the required number of prints have been obtained. 

The press shown in Fig. 1146B, while designed for proofing and 
making transfers from zinc or stone for the offset process, may be used 
for printing on metal, cardboard or paper when the runs are not 
sufficiently large to employ a power press to advantage. The stone or 
plate is placed on the end of the press at the reader’s right and inked 
and dampened with hand rollers, and the paper, or other material, to 


LITHOGRAPHY AND OFFSET PRINTING 511 


be printed is placed on the transfer bed on the left end and positioned 
under the grippers and against the adjustable registering gauges. The 
impression cylinder which is covered with a rubber blanket, is raised 
from contact with the transfer bed and the stone or plate as it is rolled 
from left to right and is lowered to come in contact as it travels from 
right to left, when it takes the impression on the rubber blanket and 
“offsets” it on to the material being printed. The impression cylinder 
is manipulated by a hand lever shown on top of cylinder side frames. 


ETCHING AND GUMMING 


After the design has been transferred to the grained surface of the 
zinc printing plate, it is prepared for the press by being treated with 
a gumming and etching solution composed of gum arabic dissolved 
in water and a slight proportion of chromic or phosphoric acid. When 
the plate is put on the press this gummed and prepared surface takes 
moisture from the damping rollers and refuses ink, while the design 
in ink takes ink from the ink rollers, and refuses moisture. In the 
preparation of the printing plates care must be exercised to prevent 
finger marking or other damage to the plates. To prevent such 
damage some workmen protect the parts of the plate on which they 
are not working by partly covering the plates with paper, leaving an 
opening over the part on which they are at work. 


DIRECT ROTARY PRINTING 


It might be well to state here that there are rotary presses on the 
market which imprint the design directly from the zinc plate upon the 
paper without the use of a rubber offset blanket, but such presses are 
made for the coarser grades of work—such as cheap poster work— 
and cannot be successfully used in printing fine letterheads and work 


‘ 


of a similar character. 


WELL ADAPTED TO MANY CLASSES OF WORK 


Offset printing has made rapid progress since its introduction, 
which is comparatively recent, and is particularly adapted to the 
printing of business stationery, advertising matter, labels, greeting 
cards and art subjects in one or more colors in large quantities on stock 
less expensive than required for letterpress printing of similar quality. 
It is also extensively used for illustrated booklets, catalogs and for 
folders, magazine covers, etc., and for printing in one or more colors 
in large editions. Many publications also carry advertising inserts 
which have been printed by the offset process and are bound into the 
magazine afterwards. | 

_ In the processes of finishing papers, such as calendering, plating 
and coating, the sheets, though they retain their original weight, or 
take on an increase in weight, become reduced in thickness—hence 
do not make as great bulk as do the papers with a less high finish. 
As bulk is one of the essential features of a booklet, catalog, or other 
piece of printed matter, there is an advantage in printing illustrations 
by the offset process, in not only a saving in cost of paper, from the 
fact that lower priced stock can be used, but also a saving because it 
is possible to use lighter weight stock without apparently decreasing 


512 COMMERCIAL ENGRAVING AND PRINTING 


the bulk of the sheet. The practicability of using lighter weight paper 
as well as lower priced paper means a saving in number of pounds 
as well as a saving in the price per pound and a further saving in the 
postage on the matter when it is sent out. | 


ADVANTAGES OVER STONE LITHOGRAPHY 


The chief advantage which offset printing has over stone lithog- 

raphy is due to the fact that the thin flexible zinc plates can be fitted 
to the surface of a cylinder for use on a rotary press, thus getting 
greater speed in printing than can be obtained on a flat bed or stone 
press. The stone on a flat bed lithographic press must travel in one 
direction while the impression is being taken and must then travel 
back to the starting point before the next impression can be made. 
Thus, fifty per cent of the motion of the press is wasted, to say nothing 
of the lost motion and the vibration caused by reversing the direction 
of the moving bed. The cylinders of a rotary press, such as is used 
in offset printing, revolve in one direction only. This practically 
eliminates the vibration and lost motion, thus permitting the press 
to be operated at great speed—much greater than the stone press. 
The average stone press is operated at a speed of about 800 to 1,000 
impressions an hour, while most offset presses, if equipped with auto- 
matic feeders, as most of them are, are capable of from 2,500 to 5,000 
impressions an hour, according to the size of the sheet that is being 
handled. / 
In printing from the stone or metal plate by the old method it 
was necessary to use a comparatively smooth surfaced paper, or card- 
board—one in which the entire surface came in contact with the 
engraved surface, either through smoothness of the stock or through 
use of a soft makeready on the tympan of the press, but by the offset 
process, because of the soft yielding properties of the rubber blanket 
from which the printing is actually done, it is possible to print practi- 
cally all kinds of paper and cardboard, including the thinnest papers 
as well as embossed papers, and at the same time obtain a clean smooth 
print in which there are no omissions of parts on rough paper as when 
printed from stone. The work is also done without leaving any inden- 
tation on the paper, something that cannot be avoided by any other 
process of printing. 

Zinc plates cost less than stone, take up less space, and are easier 
to handle, all of which things, it is argued in their favor, have the 
effect of reducing the cost of production. As compared with ordinary _ 
printing, offset printing requires considerable less makeready. In 
fact, the plate is almost ready to print immediately after putting it 
on the press, because of the rubber blanket, and this of course has a 
tendency to reduce the cost of production. Offset printing of type 
forms is not practical for short runs, when the work could be done by 
letterpress, as the expense of setting the type is the same while the 
expense of making the zinc printing plate would more than offset the 
time saved in makeready and press work. 

Another advantage claimed for offset printing over other forms is 
that the effects gained are softer and more natural than can be obtained 


LITHOGRAPHY AND OFrset PRINTING 518 


from either stone or letterpress printing. This is especially true in 
reproducing art subjects of a certain character in three or four colors. 
Besides, a lesser number of colors will produce better results than a 
greater number by stone lithography. It is asserted that five print- 
ings by the photo method of offset will produce a better piece of work 
than eight or more by ordinary lithography. 

It is possible in offset printing to approach the pleasing effects of 
water colors and by reproducing portraits and other photographic 
subjects by photolithography using a halftone screen, very satisfactory 
results can be obtained. Formerly it was necessary to engrave such 
subjects on the stone by hand, which imparted to them a stiffness 
that was mechanical and not pleasing. 

Is is seldom practical to attempt to use a halftone for transfer for 
offset printing that was made for letterpress printing. Short runs 
from transferred halftones are often practical when a special paper is 
to be used and which is not adaptable to halftone printing by letter- 
press. However, it is usually best to leave it to the offset printer to 
have a special halftone made. 

The engraved stones or plates remain the property of the litho- 
grapher, who usually has special facilities for caring for them and 
preventing damage from fire and other causes. Possession of the 
engraved design also gives him an advantage in figuring on re-orders. 
However, when it becomes certain that the original engraving will 
not be used again, the designs are ground or polished off and the same 
stone or plate may be used again and again. 

Considering the convenience with which the metal printing plates 
can be filed, and the comparatively slight saving between the cost 
of new plates and the repolishing of those which have been used to put 
them in shape for use again, it is the custom of most lithographers to 
preserve their printing plates—for a time at least. Plates are pre- 
served by the lithographer for his own benefit; hence the buyer has 
no interest except to know that the plates are in readiness for imme- 
diate use in case of emergency orders. Any lithographer will, of course, 
preserve his printing plates or stones if so requested by the customer. 

The fact that the lithographer may have preserved his printing 
stone or plate does not imply that he should make a concession in price 
on that account on re-orders, for he is entitled to remuneration on his 
investment and for the special preparation of the plates or stones for 
filing, for their care and storage space, and by having such stones or 
plates ready for printing on call, he is able to render quick service if 
necessary. | 

As in all other methods of printing in which colors are used, bright- 
ness of color depends to some extent on the stock used—the higher 
finished hard stock producing brighter colors than can be obtained 
from the same inks when they are used on soft or medium stock. 

While from the general description here given of the process of 
lithography and offset printing one might infer that the processes are 
not hampered with small annoying difficulties, yet such is not the 
case. Difficulties are encountered as in all other processes. These are 
found in all phases of the work, including engraving, transferring, 
inks, press adjustments, presswork, paper, etc. Difficulties are 


514 CoMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 133 line. Made from a retouched photograph. 


Fig. 1159. Harris offset press with high speed 
friction feeder for small work. 


encountered in obtaining correct register in the printing of color work 
when the paper has not been thoroughly seasoned. Troubles also come 
from atmospheric conditions, electricity in paper, etc. 

Many offset printers have given a special trade name to this class 
of work produced by them, thus individualizing their own work. How- 
ever, excepting possibly for minor differences in the methods employed 
in working the process, all such work is the same, granting, of course, 
the variance in quality due to the skill and efficiency of workmen, 
condition of equipment, etc., as in all other processes of producing 


printed matter. 
SS INK FOUNTAIN 


yWATER FOUNTAIN 


AUTOMATIC 
SHEET SEPARATOR 


UNPRINTED SHEETS 


Q 99 G0SHO000OP OI) 
i ———_— 


PRINTED SHEETS / 
PRINTED SIDE UP _- 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1160. Diagrammatic view showing paper travel through 
small Harris offset press. 


LITHOGRAPHY AND OFFSET PRINTING 515 


Outline-vignette halftone, 133 line. Made from a retouched photograph. 


Fig. 1161. Harris offset press with automatic pile 
feeder for general work. 


Practically all of the many different kinds of paper used for letter- 
press printing can be lithographed or printed by the offset process, but 
the papers most used are bond, linen, flat writing, poster, machine 
finish and super book and special papers for label and offset work. As 
the processes only involve the methods of engraving and printing, 
the finishing processes for the printed sheets, such as cutting, trimming, 
folding, etc., are just the same as for sheets printed by any other 
process. 


OQ- 
VBS 
INK FOUNTAIN (0) 


DEA TinG es 25 Os WATER FOUNTAIN 


ey 
>) 
C) C) 
Ke AUTOMATIC PILE FEEDER 


coyavag ax 
RUBBER BLANKET CYL. eC @ UNPRINTED 
@ SHEETS 4 
lo) 
IMPRESSION CYL. | (eo) a, , 

a) 2—* 000 (a= ———— 1 

; 5 QOOOO =i ———— i 
CHAIN DELIVERY O= =e 


| J 


PRINTED SHEETS O aS 
PRINTED SIDE UP pease 


sal OO) — 
seem Oa 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


y 
AN 
‘ay 


St 3 


Fig. 1162. Diagrammatic view showing paper travel through 
Harris offset press shown in Fig. 1161. 


516 COMMERCIAL ENGRAVING AND PRINTING 


Comparatively few printers are equipped to do stone lithographing 
or offset printing. It has been taken up almost exclusively by houses 
specializing in lithograph work of one kind or another. 


WINDOW TRIMS 


Most of the large special window trims are produced by the litho- 
graphic process. The idea is first worked out in a sketch or dummy, 
the design is then engraved and printed in sections by lithography 
and after this the sheets are mounted, die cut, and assembled or so 
arranged that they may be readily put together when delivered to the 
person who is to use them. 


Square halftone, 150 line, no line. The view at left was made from a retouched photograph and that at right from a 
black on white print from a halftone. The two halftone negatives were stripped together and the white line between was 
cut on the plate. 


Fig. 1163. Machine for graining zinc and aluminum plates 
(left) and a stone grinding machine (right). 


PRINTING ON METAL 


The printing and decorating on tin in one or more colors which is 
extensively used for signs, containers, etc., is done by the offset process. 
In fact, tin had been printed by this process long before it was discov- 
ered that it could be applied to paper. The sheets of thin rolled steel 
on which a layer of molten tin has been deposited by dipping are made 
in standard sizes which may be cut and printed in sizes as required. 
Sketches of subjects that are to be reproduced on tin, especially those 
that are to be printed in several colors, should be prepared by one who 
is familiar with the methods used in printing tin, since there are tech- 
nical points to consider, especially in the white and gold or lacquer 
printing, and when these colors are used not only as the base but in 
effecting some of the color combinations. The printing is done on 
special presses of either the flat bed or rotary type and the sheets after 
printing are stoved or baked, to give the colors permanency. This is a 
special branch of lithography in which only a limited number of con- 
cerns are engaged. 

The press shown in Fig. 1164 is used for lithographic printing on 
tin and metal sheets for boxes, signs, crown caps, dials, etc. While 


Pages 513 to 520, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


LITHOGRAPHY AND OFFSET PRINTING 517 


Outline-vignette halftone, 133 line. Made from a retouched photograph. 


Fig. 1164. Hoe two-cylinder lithographic press 
for metal decorating. 


it is built to print from stone, it can be arranged for printing from zinc 
or aluminum plates by the use of a false bed. The large lower or 
transfer cylinder is covered with a rubber blanket which receives an 
impression from the inked stone or plate as it passes underneath. 
The blanket then “‘offsets’’ the impression to the sheet of metal as it is 
fed between the transfer cylinder and the upper or impression cylinder. 
As but one color is printed at a time the sheet of metal must, of course, 
be run through the press for each of the colors to be printed, when 
printing color work. The methods of making the plates or stones for 
metal printing are the same as for making them for printing on paper. 

The machine illustrated in Fig. 1166 is made for printing tin or 
metal sheets in one color from a maximum size of 26 x 34 inches down 


IMPRESSION CYLINDER : FEED BOARD 


DELIVERY BASKET 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1165. Diagrammatic view of two-cylinder 
metal decorating press. 


518 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 133 line. Made from a retouched photograph. 


Fig. 1166. Hoe rotary offset press for printing 
on tin and sheet metal. 


to a minimum size of 17 x 21 inches. It is capable of a running speed 
up to 2,800 impressions an hour, depending on the ability of the 
operator, the kind of stock used, and accuracy required in register, and 
is for high grade work—solid colors or delicate tints—in accurate 
register. 
DRY OFFSET PRINTING 

For some classes of work, such as tint backgrounds for checks, 

offset printing is done without the use of the dampening rollers. The 


INK ROLLERS 


INK ROLLERS 


PLATE CYLINDER —>~ ( 
WATER ROLLERS 


OFFSET CYLINDER IMPRESSION CYLINDER 


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TIN 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1167. Diagrammatic view of Hoe rotary offset 
press for printing metal. 


LITHOGRAPHY AND OFFSET PRINTING 519 


zinc plate is etched to give the lines and characters that are to print a 
slight relief from the plane that is not to print. Then in printing, only 
the lines in relief receive the full charge of ink and print the full color, 
although there will be more or less of a tint between lines. The process 
is practical only when the subject to be printed is made up of lines 
closely assembled, as if the design contains large open spaces, these 
would not be deep enough on the plate to prevent the sheet of paper 
from becoming smudged or offset while being printed. This process is 
also used to some extent for printing tin. 


*Fig. 1175. 


than the one above. It is also known—depending upon the 

country in which it is used—as litchdruck, photo-typie, alber- 
type, artotype and heliotype, and in Europe the process is generally 
designated as collotype; this term coming from the Greek word, 
‘‘kolla,’”’ meaning glue or gelatin. In this country it is also some- 
times incorrectly called photogravure. 


4 Y ARIOUS titles are given to the photo-gelatin process other 


ADVANTAGES OF THE PROCESS 


The chief advantage of printing by the photo-gelatin process is 
that there is obtained a true photographic gradation, absolutely un- 
broken by any line or screen. This condition and the yielding qualities 
of the printing plate make it possible to produce by this method softer 
prints than by lithography or photogravure. The shallowness of the 
printing plate, however, does not permit the heavy application of 
ink in the shadows that is possible from a deeply etched photogravure 
plate. 

The ink on a photogravure print may be almost felt in places, 
whereas a print from gelatin has practically no thickness at all; the 
photo-gelatin has absolute smoothness and softness, whereas the 
photogravure may be made to give great strength and richness, as well 
as softness. 


USES TO WHICH IT IS ADAPTED 


For the better classes of reproductions, when only a small run is 
required, it is one of the most economical processes known, owing to 
the small initial expense in the preparation of the plates. It can be 
used for all the purposes detailed in the article on photogravure, as 
well as many others. It is especially adapted to small posters, theatrical 
pictures, trade advertisements and fashion plates. The subject is fre- 
quently duplicated on a larger plate when large quantities are ordered, 
so that more than one copy may be printed at each impression. 

Photo-gelatin prints are also largely used as a substitute for photo- 
graphs of silverware, furniture and other manufactured articles when 
a small quantity of reproductions is needed and something better than 
a halftone print and less expensive than an actual photographic print 
is desired. The process is frequently used for reproducing wash 


*Line etching on zinc. Made from a pen drawing. 


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THe PHoro-GELATIN PROCESS 521 


drawings of birdseye views of manufacturing plants when large prints 
are desired for framing. The prints are especially well adapted to 
hand coloring. 

PRINCIPLES OF THE PROCESS 


Practically all photo-mechanical processes are based on the action 
of light on gelatin in the presence of a bichromate. Ordinarily, gelatin 
when placed in cold water absorbs a certain amount of water and 
expands. In hot water it dissolves. If, however, a sufficient quantity 
of bichromate of potash, or of ammonia, is dissolved in the hot water 
containing the gelatin solution, the resultant gelatin and bichromate 
possesses a new property, after the water has been removed from it. 
It is then subject to the action of light. Kept away from the light, 
it still swells in cold water and dissolves in hot water, but if the light 
is permitted to act upon it, it ceases to have these qualities. This 
chemical action forms the basis of all photo-mechanical processes in 
common use. 

Since the bichromatized gelatin has the quality thus described, 
it is easy to take a sheet and expose some part of it to light while 
shielding the remainder. The part thus exposed becomes insoluble, 
while the shielded part retains its normal condition of solubility. It 
is thus possible, through the use of a photographic negative, to regulate 
the action of light on the gelatin as desired. After exposure to the 
light under the negative the sheet of bichromatized gelatin becomes 
a reproduction of the negative in varying degrees of solubility and 
insolubility, according to the degrees of opacity in the negative. 
Moreover, the sheet of gelatin carries with it the other property of 
varying degrees of absorption and expansion. So that, in printing 
from the finished sheet, a picture is obtained that has not only varying 
degrees of light and shadow, but also varying degrees of relief and 
depression. 

In the process most used today, the bichromatized gelatin is poured 
on a glass plate, and after drying in an oven, is subjected to the 
action of light through the negative, as just described. By exposure 
to light the parts where light has acted strongly (the shadows) are 
rendered waterproof, so that they no longer absorb water. The parts 
where the light has acted not so strongly (the middle tones) wil! only 
partly absorb water, while the parts to which no light has been ad- 
mitted (the high lights) retain the normal property of absorption. In 
reproducing the negative on the plate, the edges of the negative are 
covered, so that only the part to be reproduced will print on the 
gelatin. The negative must be reversed, either by stripping or by the 
use of a prism, in the manner described on the discussion of the making 
of halftones. Otherwise the print from it would be reversed. — 

After exposure the plate is sponged, first with water which opens 
the pores of the gelatin, and then with a solution of water and glycerin, 
the glycerin to prevent as far as possible the rapid drying of the plate. 
In those parts where it has not absorbed water, the ink will be retained. 
Where water is partly absorbed, the ink also partly adheres, and 


Pages 521 to 536 inclusive are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


52? COMMERCIAL ENGRAVING AND PRINTING 


where the gelatin has absorbed its full quota of water, the ink will not 
adhere. 

Lithographic ink, which is the ink used in printing by the photo- 
gelatin process, is grease with color added to it. After the plate is thor- 
oughly sponged and dried, a roller charged with this ink and passed 
over the plate speedily reveals the light-produced image. The picture 
so secured is transferred, by pressure, to paper and the operation is 
repeated for each print required. 


MAKING THE PLATE 


It may be interesting to follow out one of the methods of actually 
making a photo-gelatin plate and printing from it. 

As a substratum for the plate, shake to a froth in a bottle ten 
ounces of albumin or dextrine and six or eight drops of sodium silicate. 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 


Fig. 1177. Hand press for proving photo-gelatin plates 
and printing small orders. 


Let it stand for half an hour and then filter. Take the clean plate glass 
and go over it on one side with the mixture, using a sable brush. Set 
on edge to dry. Then repeat the operation, this time letting the glass 
dry the other way up. Repeat once more, flowing a gentle stream over 
the plate for half a minute and they dry again. 

When finally dry, coat with a mixture, made as follows: 44 grains 
of Nelson’s gelatin, soaked for twenty minutes in cold water and heated 
until melted, preferably by means of a water kettle. Then pour into 
it the following warm solution, which must not be permitted to reach 
the boiling point: one-half ounce of water and six grains of ammonium 
bichromate. Mix well and filter. 

Take the glass plate with the substratum and flow this solution over 
it, placing it at once in a drying box. It will dry in a few hours and is 
then ready for immediate use. It must lie absolutely level in the 
drying box. 


THE PHotTo-GELATIN PRocEss 525 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph that was made from a black on 
buff print from 175 line halftone, 614 inches wide. 


Fig. 1178. Cylinder press for printing photo-gelatin plates. 


The time of exposure of the gelatin under the negative will vary 
from fifteen minutes to an hour, dependent on the character of the 
negative, density or otherwise, and the prints are made in much the 
same manner as those from halftone or line negatives when made on 
metal for etching. After printing, wash the plate in cold water from 
one and a half to two hours and dry in the open air. This drying will 
consume about five hours. 


PRINTING FROM THE PLATE 


When thoroughly dry, the plate is ready for printing. The glass 
plate with the gelatin printing film is locked or clamped to the press. 
It is inked by means of a lithographic roller, freshly inked for each 
impression. The plate is first dampened with a very weak solution of 
glycerine and water and this is allowed to evaporate slightly. If the 


FEED BOARD UNPRINTED SHEETS 


IMPRESSION CYLINDER 


oe PRINTED SHEETS 
COMPOSITION INK ROLLERS LEATHER INK ROLLERS 
INK DISTRIBUTORS INK DISTRIBUTORS 
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Line etching on zinc. Made from a pen drawing on which proofs of type of the lettering had been pasted. 


Fig. 1179. Diagrammatic view of photo-gelatin cylinder press. 


Spat COMMERCIAL ENGRAVING AND PRINTING 


high lights begin to show a muddy appearance, the plate should be 
dampened again with glycerine and water. Two colors—usually two 
shades of the same color—are sometimes used, each being applied with 
a different roller. The shades most frequently used are blacks, browns, 
dark greens and dark blues. 

Both hand and power presses are in use for printing from photo- 
gelatin plates. A hand press of the type shown in Fig. 1177 is used 
for proving and small runs, while for large plates and the longer runs a 
press is used of the type shown in Fig. 1178. Best results are obtained 
in the photo-gelatin process by printing on hard mat surface ledger 
and bond papers that are not too rough. 

Usually, when the run is completed, the gelatin is removed and the 
plate glass used over and over again. It is obvious that when the 
gelatin film is removed from the glass it is destroyed. If left on the 
glass, even though it may have had only a short run, it cannot be pre- 
served any great length of time for later editions. 


COPY FOR PHOTO-GELATIN REPRODUCTION 


Photographs, retouched photographs, wash drawings, crayon 
drawings, paintings—in fact, any copy that can be reproduced by the 
halftone process can be reproduced by this process, and as in making 
a halftone the reproduction can be made to any proportionate size of 
the copy. The best results are obtained from copy in soft effects 
rather than from that in strong color with hard lines. Copy in colors 
is unsuited for direct reproduction, and if used requires the same 
handling as when such copy is prepared for reproduction in halftone 
for printing in one color. 


oS 


*Fig. 1225. 


HE use of engraved stationery in its various forms is one of the 

refinements that have become a part of modern culture, and it 

can hardly be called a luxury. Its appeal is to persons of dis- 
criminating tastes, and it has gone forward rapidly during the last few 
years. No other process of printed reproduction equals copper and steel 
plate work. In speaking of engraved work, we, of course, refer to the 
best class of engraving, and not to the inferior work, turned out by some 
houses that is unfortunately crude in execution and lacking quality 
in every way. 

All work cut or engraved intaglio on copper is usually known as 
copper plate engraving. Many have the impression that copper plate 
engraving is used almost exclusively for visiting cards and wedding 
invitations, but the purposes for which it or steel plate engraving may 
be employed to advantage are almost innumerable. 


THE USES OF COPPER PLATE ENGRAVING 


Its principal use is for the best form of social, wedding and party 
invitations, announcements, visiting cards, birth and death announce- 
ments, business announcements, holiday greetings, etc., and ina limited 
way for business or commercial stationery. The various forms for which 
it is used are usually printed in limited quantities. Plates engraved on 
copper will produce perfect printed copies up to several hundred im- 
pressions, sometimes several thousand impressions, the number de- 
pending upon the character of the work, the stock upon which it is 
being printed, the manner in which the plate has been engraved, and 
the skill with which the plate is handled in printing. There is no 
practical method of hardening copper plates to make them withstand 
long usage, and the process of printing from them by hand is so slow 
and expensive that it is impractical to use them for long runs, or on 
work that may call for frequent repeat orders. 

While copper plates may be nickel plated and thus increase their 
length of service, either for hand, or power press printing, usually 


*Combination halftone, 150 line, square-outline, no finishing line. Photograph of group of plates, slightly retouched, 
used for background on which lettering was drawn. Outlined letters cut on same plate with halftone. 


526 COMMERCIAL ENGRAVING AND PRINTING 


plates that are to be subjected to long runs are cut on steel and hard- 
ened. The hardened steel plate with proper handling will give an 
almost unlimited number of impressions. 


ENGRAVING THE PLATE 


In copper plate engraving a piece of copper is used, highly polished 
on the side to be engraved, about one-sixteenth of an inch thick and 
slightly larger than the sheet to be printed from it. The text to be 


Square-vignette halftone, no finishing line, 150 line, from photograph slightly retouched. 
Fig. 1226. Engraving the plate. 


engraved is carefully arranged as to form and number of lines. The 
engraver faintly marks the base line for the different lines to be en- 
eraved on the plate, then marks the line indicating the top of the body 
of the small or the lower case letters, and then another line indicating 
the top of the capital letters, these lines being ruled from left to right 
on the plate. Faint vertical lines are then ruled on the plate if it is to 
be engraved in a style of letter the main lines of which are perpendic- 
ular. If the plate is to be engraved in script, the lines are ruled at an 
angle to correspond with the main down-strokes in the letters. The 
words of the text matter to be engraved are now laid out roughly and ~ 
spaced properly to conform with the design that is desired, then the 
actual engraving or plate cutting with tool is begun. The text is cut 
in reverse, i. e., it reads from right to left on the plate. The heavy 
lines are first cut, usually all of the perpendicular lines on the plate, 
then all of the light perpendicular lines, after which the cross lines 
connecting the up and down strokes and finishing points are engraved. 
The plate is gone over carefully for defects and misspelled words or 
other corrections, and the guide lines removed by polishing the plate. 

Designs with vignetted or ruled background may be engraved on 
copper although they are usually made on steel. The process followed 


CopPpER PLATE ENGRAVING Sper 


SS 3 eS Naan ee ~ 


Square finish halftone, no finishing line, 150 line, made from slightly retouched photograph of engraved plate. 


Fig. 1227. Illustrating three stages of the work in engraving a plate. First, the 
letters roughly drawn on the plate; second, the main lines are cut, and third, 
the hair and finishing lines are engraved to complete the work. 


is the same as for engraving on steel plate and this is fully described in 
the chapter on Steel Plate and Die Engraving and Printing. 

Corrections are made by tapping the plate up from the back, thus 
eliminating the lines first engraved and securing a new smooth surface 
to be re-engraved, on which the correction is made. 


PRINTING FROM THE ENGRAVED PLATE 


The next step is to place the plate on the press for printing. The 
plate is attached to the ‘‘plank’’ or bed of the press with a prepared 
soap, which, while holding the plate rigidly for printing, at the same 
time permits of easy removal after the printing has been completed. 
After being made ready to make the proper impression the engraved 
surface of the plate is covered with ink from a roller, care being exercised 
to fill with ink all lines that have been cut or engraved in the plate. The 
ink is then wiped off with cheese cloth and the plate polished by hand 
with whiting until the entire surface is perfectly smooth and clean, 
the ink remaining only in the grooves of the engraved lines. The sheet 
to receive the impression is now placed face down on the plate, marks 
having been placed on the plate to indicate just where the two upper 
corners of the sheet shall be placed to obtain proper position of print 
on the sheet. The impression is now obtained by an operation of the 
press, which carries the plate under a D roll or tympan on which the 
makeready or “‘rigging’’ is placed, with a strong even pressure, the 


CL. yj e 
| Lu lvos -of/ Mlary: O CUM Y 


ie, 


Line etching on zinc from proof from engraved copper plate. 


Fig. 1228. Print as would be obtained if engraved copper plate was 
mounted and printed on ordinary printing press. 


Both 150 line halftones from retouched photographs. Complete press, outline-vignette; the close-up view, square 
finish and line zinc combination. Reference lines drawn on the retouched photograph, text from proofs of type mounted 
in required position from which the line etching was made. 


Fig. 1229. A press for printing engraved copper and steel plates. 


sheet picking up the ink from the engraved lines. After the impression 
the bed of the press carrying the plate and sheet is brought back to the 
point from which it started, the sheet removed, the plate re-inked, 
re-wiped, and a new sheet put on for the following print. Each sheet 
printed must go through the same process; the average number of 
impressions that may be made froma plate such as shown in Fig. 1344B 
is about two hundred per hour. Visiting cards, of course, are run more 
rapidly, while larger sheets must be run at a slower rate. 

Copper plates cannot be printed on the ordinary printing press but 
require a special press consisting of a bed and roller, the printing 
mechanism of which is illustrated in Fig. 1229. Some plate presses 
are equipped with power for making the impression, but the inking, 
wiping and feeding are all done by hand. The ‘plate printer” inks 
and wipes the plate and operates the press, while his assistant or 
““feeder”’ places the sheets or cards on the plate before the impression 
and removes them afterwards. 

If the plate on which the engraving is made is smaller than the 
sheet on which it is to be printed, the process of printing is much slower 
and often impractical because of the ink that will accumulate on the 
edge of the plate during the process of inking and wiping and which, 
unless carefully wiped off before each impression, is likely to make a 
dirty edge or line on the sheet around the entire edge or part of the 
edge of the plate. An extra charge is usually made for handling such 
plates. 

MAKING CHANGES AND CORRECTIONS 


It is usually an easy matter to change a letter or a word where the 
new word has the same number of letters as the old, but it is more 
difhcult and sometimes impossible to made additions to an engraved 


Copper PLATE ENGRAVING 529 


plate. The addition of a word or letter may mean the taking out of 
nearly an entire line, in order that the wording may be properly spaced 
after the new word or letter is putin. This means, of course, not only 
taking out the old but putting in the new and on a small plate it is 
impractical to attempt to make a correction requiring both taking out 
and putting ina long line. Also it sometimes happens that the original 
plate is not large enough to permit the addition of extra lines or extra 
words. Of course, no changes can be made in printed cards or sheets 
that have been incorrectly printed. A charge is made for erasing or 
taking out old address lines, etc., as well as for putting in the new. 

When an error has been made in engraving a plate and both plate 
and the work from it have been delivered, return the plate imme- 
diately to the engraver, but hold the incorrect work, as usually it 
cannot be corrected and it is a needless expense to return it. It is 
sometimes possible to add omissions as in the case of extra lines. 

A plate engraved on copper may sometimes after it becomes slightly 
worn be re-engraved and repaired so as to put it in good working con- 
dition, at less expense than engraving a new plate. 

Customers having corrections or additions made to old plates 


Outline-vignette halftone, 150 line, from 150 line halftone print, reduced about one-third. 


Fig. 1230. An engraving machine. 


should not be disappointed by, or blame the engraver for an imperfect 
match of the new with the old, especially if the plates have had con- 
siderable use. 

ENGRAVING BY MACHINE 


Much of the copper plate engraving of every style is now success- 
fully done by machine. By this process the plate is first coated with 
an etching ground and the letters are cut or engraved in the ground 
by the machine, which works on the same principle as the pantograph. 
The master letters (which are designed by the best available engravers 


Pages 521 to 536, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


530 COMMERCIAL ENGRAVING AND PRINTING 


in the country) are placed in the machine and the operator by following 
the lines on them rapidly transfers the letters to the copper plate. After 
the engraving has been made in the ground, an acid is applied to the 
lines which bites out the metal with a wonderful degree of evenness, 
thus converting the plate into an intaglio engraving. The ground is 
then removed from the plate and if necessary a small amount of work 
is done with the tool and the plate is ready for printing. The machine 
is so constructed that only one size master plate is required and from 
this the engraved characters may be made in a wide range of sizes, and 
from the same pattern plate the letters may be made extended either 
left or right, or up and down, condensed, or to be made to slant at 
various angles at the will of the operator. The machine is also so con- 
structed as to be available for engraving in the same manner on steel 
plates and dies and on lithographic stone. 

Machine cut plates are very perfect and a remarkable variety of 
work is done on the machine shown in Fig. 1230. 


HOW TO ORDER 


To execute an order properly the engraver must know the text to 
be engraved, the style, the quantity, the size and kind of stock, color 
of ink and the time the work is wanted, whether or not it is desired 
that the plate be returned with the work and manner of shipment. 

Most of the copper plate engraving is sold through agencies, such 
as printers, book and stationery dealers, department stores, jewelers, 
etc., because the average customer has only occasional use for this 
class of work. When the work is sold through the agency, the manu- 
facturing engraver may keep the agent supplied with actual samples 
of latest. styles, forms, etc., and ordinary business can be handled at 
less cost than if handled with the engraver direct. The different orders 
are usually small. By having them collected and sent to him in quan- 
tity, it is possible for the manufacturing engraver to devote his efforts 
to the production or manufacturing, leaving the retail selling problem 
to others. Some engravers, however, handle orders direct from the 
customer and in the case of orders calling for special treatment, unless 
the selling agent is well informed in the work, it is an advantage to all 
concerned in reaching a decision as to just what is wanted. 

Visiting or calling cards make up a considerable part of the orders 
from the retail agencies, the individual orders being largely for the plate 
and one hundred cards, or one hundred cards printed from an old plate. 


TRADE CUSTOMS AND SUGGESTIONS 


It is not customary to submit proofs of engraved copper plates 
before printing the finished job. Hence the necessity of writing all 
copy plainly. When proofs are submitted, and press is kept idle, waiting 
for an O. K., or the second makeready is made necessary on account of 
submitting the proof, an extra charge is made for this special service. 
To prevent errors, copy should always be typewritten and arranged 
by lines in the manner in which it is to be engraved. If a typewriter is 
not available, the text should be printed in Roman characters and 
plainly, that no errors may be made in the spelling of proper names, 
etc. Do not give copy over the telephone. 


CoprperR PLATE ENGRAVING od 


In the case of wedding invitations, announcements, party invita- 
tions, etc., it is well to state to the engraver that he is privileged to 
make such changes in minor details, such as the wording of the unim- 
portant part, arrangement of lines, etc., provided, of course, there is 
no objection to giving him this privilege. Delay is sometimes occa- 
sioned through correspondence necessary to obtain permission for 
these minor corrections, for unless permission is given, engravers will 
not assume responsibility for changes from copy. 

In sending orders to be made up from old plates whether from a 
plate on file with the engraver or from a plate you are sending, always 
send a sample of work that has been made from the plate, or describe 
the text on the plate that it may be readily and positively identified. 
When sending plates, sender’s name and address should be on the pack- 
age and it will usually save postage if the instructions are sent separate 
from the package. 

CARE OF PLATES 


In most cases the plates used in the production of copper plate 
engraving remain in the possession of the engraver. The advantage 
of leaving the plates with the engraver, especially those from which 
reprint orders are likely, such as visiting cards, is that the plates may 
receive proper care in the way of protection from scratches, rust or 
corrosion, to prevent damage in transit in sending back and forth, 
and to prevent loss. The engraver has a system of filing which will 
enable him to locate quickly any plate that may be called for, while 
the customer, especially the one who orders only infrequently, may 
have difficulty in locating the plate if it is in his possession when he 
wishes to re-order. Plates should be kept in a dry place and the less 
handling they receive the better. 

The slight discoloration of the copper which occurs between runs 
does no particular harm, but moisture that may get on the surface, 
even perspiration from the finger tips, will often utterly ruin the 
engraving. If you must examine the plate, hold it as the engraver 
and plate printer do, by its edges. If a rust spot occurs in the engrav- 
ing its removal will either tone down the engraving or leave a hole in 
the plate, and these holes and scratches hold the ink the same as 
engraved lines and must be taken out before the plate can be printed. 
The best rule is to leave the plate in its envelope or wrapper as it 
should always be protected from contact with other objects that may 
scratch or dent it. 

STYLES OF ENGRAVING 


Script is more largely used than any other style of letter for copper 
plate engraving, probably because it is least expensive. The styles of 
engraving vary in price as well as the qualities of stock which may be 
used for printing, and the choice of engraving and stock depends 
largely, therefore, upon the amount the customer is willing to spend 
for the work under consideration. 

While the styles of letter faces as produced by the various engrav- 
ing houses are almost innumerable, those shown in Fig. 1253 are the 
leading and most popular styles. In specifying style of engraving by 
number when placing your order, be sure that you are ordering from 


BOL COMMERCIAL ENGRAVING AND PRINTING 


the style sheet of the engraving house to whom the order is to be sent. 
All engravers do not use the same numbers to designate the different 
styles of engraving, hence the possibility of error or delay in filling an 
order if the style desired is not clearly understood. 

While invitations and announcements are usually engraved in one 
style of letter throughout, mixed styles of lettering may be used, if 
proper balance and harmony are preserved. In the case of a wedding 
invitation the more important lines, such as the names of the parents, 
bride and groom, may be cut in one style, while the rest of the lines 
may be cut in another. 

SKETCHES 


It is not customary to make sketches nor to submit proofs for 
visiting cards, wedding and party invitations and work of this char- 
acter, but for business cards, letterheads, and the more pretentious 
business announcements, etc., it is usually a saving of time and expense 
in the end to begin the work only after receiving the customer’s 
approval of the preliminary sketch. Special work of any consequence 
should always be made up in a rough sketch and submitted for ap- 
proval, as changes at this stage are inexpensive, but often quite the 
reverse if made after the plate has been engraved. 

The time required for making a sketch is always considered and 
included in the estimate for any piece of work where it is advisable 
that a sketch be made. 

The creating of ideas and sketches requires the thought and time 
of the most skilled and highest paid employes for whose time a charge 
must be made. 

KIND OF STOCK BEST SUITED 


White or faint bluish white are recognized as standard colors for 
all engraved invitations, announcement cards, etc. 

Pasted wedding bristol, in either plate or kid finish, is usually 
used in the printing of the various kinds of cards from engraved plates. 
Invitations, announcements, etc., on folded sheets are most always 
printed on kid or vellum finished papers. The inks used will adhere 
to the slightly roughened stocks much better than to the hard smooth 
surfaces. Soft and spongy papers will not take a clean sharp impres- 
sion from an engraved plate and the coating on the highly finished 
papers, such as are used for fine halftone printing, is very injurious 
to copper and steel plates. Hard bond papers. are little used except in 
bank note work when the paper is dampened for printing. 

While engraved copper plates are usually printed with a dull deep 
black ink, prints may also be made in practically any color, at a slight 
extra cost. The best results are obtained with black ink, and as the 
pressure in printing has been sufficient to cause the paper or card to 
take up all of the ink in the cut lines on the plate, there is not only 
sufficient ink on the paper to give the text the color to make it easy 
to read, but there is enough surplus to cause the raised or embossed 
effect noticeable on copper plate work and without the reverse em- 
bossed or sunken letter effect on the back of the sheet. 

A sheet or card with a panel slightly sunk in it, by means of pres- 
sure and heat, giving the effect of a frame, is known as a panel pressed 


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mobdite starting 
together wah 
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gisne jar types Used in reitroad and 


Stomye Gatfery for 


lighting and igns 


telephone service dawn to thetiny befleries 
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At New York Grand Central Palace, 
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Made from slightly retouched photograph of grouped cards and sheets. 
h halftone negative was printed in making the plate. 


Fig. 1231. Group suggesting uses of copper plate engraving. The style of 
engraving, the use of card or sheet, and the size of same 
may be varied to meet requirements. 


534 COMMERCIAL ENGRAVING AND PRINTING 


card or sheet, as the case may be. This adds much to the appearance 
and character of the work and almost any order may be finished in 
this manner on request at a slight additional expense. This effect is 
also known as a platemark and it is applied as by embossing. 


VALUE OF. OLD PLATES 


Old plates that have been used for invitations, announcements, 
cards, etc., after serving the purpose for which they were especially 
made, have no value except as old metal, and considering the small 
amount in each plate, this is practically nil. 


Outline halftone, 150 line, from retouched photograph. 


Fig. 1232. Card tray made from wedding invitation plate. 


Many wedding invitation plates are made into card trays or nov- 
elties, and almost every manufacturing engraver is prepared to furnish 
these at a nominal additional charge. 


COST OF COPPER PLATE ENGRAVING AND PRINTING 


Owing to the many different styles of engraving, the variance in 
the form to be engraved, the different kinds of stock to be used in 
printing the job, as well as the number of copies, the different items 
must be figured separately on each job in order to get the proper total 
for the complete work. The cost of engraving the plate is first taken 
into consideration, the estimate on this part of the work being usually 
based on a charge of so much per line for the engraving or so much per 
letter, the price per line or letter varying because of the different styles 
and sizes of letter and length of lines. The stock is then estimated 
and added to the cost of engraving and printing the plate to obtain 
the total cost. With visiting cards, wedding invitations, announce- 
ments, at home cards, and the most commonly used classes of work, 
the price of the stock and the printing are usually listed as one item. 

There is no uniform scale of prices and they vary slightly among 
different engravers. Therefore, quality, service, responsibility and co- 
operation should be taken into consideration in the placing of orders 
as well as price. 

Special invitations or announcements of course require a special 
estimate. 


Copper PLATE ENGRAVING Sp 


Where the line rate prevails for engraving, the rate per line for 
visiting cards is usually less than for invitation or announcement forms. 

An extra charge is made for the metal, where a large plate is re- 
quired for only a few lines of engraving. 

In the printing of color or other plates to register, an extra charge 
is made on account of extra time required and increased waste of 
stock in order to obtain full count. 


FORMS AND CUSTOMS 


There are certain forms and customs in connection with engraved 
wedding, social and business stationery that are well established: and 
looked upon as being correct. However, owing to the wide variance 
in conditions, the extensive range of possibilities in the engraving, as 
well as the almost unlimited field from which to make selection of 
stocks which vary in quality, color, weight, and size, there can be no 
hard and fast rule as to what is correct and what is incorrect. There- 
fore selection is a matter of preference governed more or less by the 
prevailing custom. 

Thus, as all work is made to special order, it is possible to meet 
practically every requirement. On the smaller orders, special changes 
from the common forms usually mean an increase in cost seemingly 
out of proportion, but the larger orders, which will warrant shipment 
of special stock from the mill and the making of special dies and plates, 
may be made up to give them an individuality at a reasonable cost. 

In the lines of wedding and social stationery, each manufacturer 
has his own line of special sizes, qualities, weights, and colors, and as 
no retailer or jobber carries all of the numbers for each, the customer 
who specifies a certain stock should allow a reasonable time for order- 
ing the stock from the manufacturer in addition to the time usually 
required for the execution of such an order. 

All forms to be engraved should be clearly and concisely written 
and where time is given for an event, the hour and place should be 
plainly stated as well as the day. 

While it is occasionally necessary to use abbreviations, this is not 
advisable if the matter can be well handled in any other way. 

Although in the following common and unusual forms there will 
be found a considerable range in phraseology, these are subject to 
many additional possibilities in the way of changes and substitutions 
and combinations as conditions may require. They may also be 
engraved in any style and size. 

An invitation to or an announcement of a wedding should, if 
mailed, be enclosed in both an inside and an outside envelope. The 
inside envelope should only bear the name of the person or persons for 
whom the invitation is intended, while the outside envelope should be 
addressed with the name, or names, street, city and state. 

Wedding invitations are usually printed on note sheets and issued 
in the names of the bride-elect’s parents, surviving parent, bachelor 
brother, married brother and wife, married sister and husband, grand- 
parents, uncle and aunt, or guardian, selecting from the foregoing in 
the order named, as conditions require. They should be mailed so as 
to be received two weeks to the day prior to date set for the ceremony. 


536 COMMERCIAL ENGRAVING AND PRINTING 


INVITATIONS 


Fig. 1240 


The pleasure of your company is requested 

at the marriage of 

Miss Norton Russell 

to 
Mr. Samuel Davison 
on the afternoon of Thursday the seventh of June 
at half after two o'clock 
Sixty-five Madison Avenue 

Atlanta, Georgia 


Fig. 1241B 


Mr. and Mrs. Henry Parsons Austin 
desire your presence 
at the marriage of ther daughter 
Helen Louise 


to 
Mr. Richmond James Brown 
on Friday the twenty-sixth of January 
at four o'clock 
at Binghamton, New York 


Fig. 1242B 


Mr. and Mrs. Wallace Maines Williams 
request the pleasure of the company of 


at the marriage of their daughter 
Elizabeth 


to 
Doctor Henry Oscar McCormick 
on the evening of Wednesday the tenth of September 
at eight o’clock 
Nine hundred forty-one Congress Avenue 
Philadelphia 


Fig. 1243B 


Mr. and Mrs. Williare Mason 
request the honour of the presence of 


at the marriage of their daughter 
Olive 
to 
Mr. John Clark Paul 
on Wednesday evening January fifth 
at eight o’clock 
Eighty-seven East Tenth Street 
Richmond, Virginia 


Fig. 1244 


Mr. and Mrs. Samuel Hunt Masters 
request the honor of 


presence at the marriage of their daughter 
Eveline 


to 
Mr. Edward Astor Whiting 
on Wednesday the twentieth of October 
at three o'clock in the afternoon 
at Trinity Cathedral 
Cincinnati, Ohio 


Fig. 1246B 


Mr. and Mrs. David Allen Franklin 
will give in marriage their daughter 
Bertha Mae 


to 
Mr. Walter Samuels 
on Wednesday afternoon, the twenty-fourth of June 
at twelve o’clock noon 
Springfield, Illinois 
The pleasure of your company is requested 


Fig. 1247B 


Mr. and Mrs. Daniel Swain Moffett 
invite you to be present 
at the marriage of their daughter 
Ruth 


to 
Mr. Robert Johnson 
on Thursday evening the twenty-eighth of October 
at six o'clock 
at the residence of W. A. Wadsworth 
Bloomington, Indiana 


Fig. 1248B 


Mr. and Mrs. John Long Barnard 
invite you to be present 
at the marriage of their daughter 
Caroline Leona 
to 
Mr. William Benjamin Baker 
on Thursday the twenty-first of October 
at twelve o'clock noon 
at their home 
near Anderson, Indiana 


Fig. 1249B 


Mr. George Adams 
requests the honor of your presence 
at the marriage of his sister 
Jeanette 


to 
Mr. Edward Hamilton 
on the evening of Wednesday the tenth of June 
at eight o’clock 
at Central Christian Church 
: Detroit 


Fig. 1250B 


Mr. and Mrs. Sharon Elmer James 
request the honor of your presence 
at the marriage and reception of their daughter 
Edna Blanche 


and 
Mr. Henry Everett Chapman 
on Wednesday evening the twenty-third of July 
at eight o’clock 
One hundred and four South Thirteenth Street 
South Bend, Indiana 


Fig. 1251B 


Mr. and Mrs. Charles Andrews 
request the pleasure of your company 
at the wedding reception of their daughter 
Eleanor 


an 
Mr. George William Blount 
on the evening of Wednesday the fourth of January 
at half after eight o’clock 
Thirty-two ten North Illinois Street 
Indianapolis 


Fig. 1252B 


Mr. and Mrs. George Burford 
request the pleasure of your company 
at the marriage of their daughter 
Anna Belle Davis 


to 
Mr. John William Hunt 
on the evening of Thursday the fourth of May 
at eight-thirty o’clock 
at Hotel Sinton 
Chicago 


. Mh. Wort he LD, OS 


BUSINESS SCRIPT 


Uni George Sewé Campbell 
MN. COPY COLO ka 
‘ O SOCIAL SCRIPT 
. Me fies Wj oot fa 
= Vie Lerence Joan Luplon 
ee AN CRIPT 


Moe. Chomas Carr Hannah 


SOLID OLD ENGLISH 


flrs, Cheater Lee Plarter 


SHADED OLD ENGLISH 


Drs. Cart ID. Daoter 


ASTOR TEXT 


Ls lens rowniun 
Ne. $ 4 of ) q 


SOLID FRENCH 


Nes. a: Doy (. ONG 


SHADED FRENCH 


ay? 3 
“ES Grace ay Stir Grsen wees 


SHADED GREEK 


Mee, Robert E. Hamilton 


SHADED CAXTON 


Mfrs. lapses Coliwell 


SHADED SPANISH 


Mr GEORGE WELLS FUNSTON 


SOLID ROMAN 


Mr.G.WKELLINGTON MASON 


SHADED ROMAN 


{fen ry Winton Ramse Y, M.D. 


SHADED MODIFIED ROMAN 


Mary Walker Smith 


LOWER CASE ROMAN 


ARTHUR LEWIS ROBERTS 


GOTHIC 


VERNON C. FIELD 


OUTLINED GOTHIC 


RAYMOND SCAMIDT 
CONNECTICUT 
Fig. 1253. Styles of engraving. 
The size of any style of copper plate engraving is modified, more or less, to meet conditions existing in the work 


being engraved, such as length of line, letters in names, size of stock to be used, etc. Styles using all capital letters may 
be engraved all in one size, or large and small, as shown above. 


Printed from engraved steel plate on power plate and die press. Plate Paper, 24x36—90. 


Copper PLateE ENGRAVING 


Fig. 1254B 


Reverend and Mrs. Kar! Bacon 
request the honour of your presence 
at the marriage of their daughter 
Ruth Willard 


to 
Mr. Fred Mason Ayres 


on Tuesday the twenty-second of December 


at high noon 
First Methodist Episcopal Church 


Chicago 
At home 


after the first of February 
102 South Grant Avenue 


aout 
Fig. 1255B 


Mrs. Elizabeth Henderson 
invites you to be present 
at the marriage of her daughter 
Louise Mary 
to 
Captain Cornelius Robertson 
United States Army 
on Wednesday morning the twenty-second of September 
at seven o’clock 

St. Lawrence Church 
LaFayette, Louisiana 


Fig. 1256B 


Mr. and Mrs. Arnold Tierney 
request you presence at 
the marriage of their daughter 


Elizabeth Lillian 


(Mrs. James Ford Henry) 


to 
Mr. Russell Banks 
Ensign United States Navy 
on Wednesday evening the eighth of September 
at eight o’clock 
$16 West Powers Street 
Butte, Montana 


ANNOUNCEMENTS 


Fig. 1275 


Mrs. Margaret White 
announces the marriage of her niece 
Mary Allen 


to 
Mr. Harold Sherman 
on Saturday the nineteenth of June 
nineteen hundred and twenty-three 
Des Moines, Iowa 


Fig. 1276B 


Mr. and Mrs. John Arthur Brown 
announce the engagement of their daughter 
Mary 


to 
Mr. Robert Payne 
Cambridge 
December 
Nineteen hundred and twenty-three 


Fig. 1277B 


The announcement is made 
of the marriage of 
Miss Bessie Shaw 


and 
Mr. Chauncey Earl King 
on Saturday the twenty-eighth of June 
one thousand nine hundred and twenty-three 
Cincinnati, Ohio 
At Home 
621 West Seventy-second Street 
Cleveland, Ohio 


Fig. 1278 


Mrs. Edith Jameson 
has the honor of announcing to 


the marriage of her daughter 
Mary Louise 


to 
Mr. Harold Thompson 
on Saturday the nineteenth of June 
one thousand nine hundred and twenty-three 
Toledo, Ohio 


Fig. 1279B 


Reverend and Mrs. Fred Butz 
announce the engagement of their daughter 
Rose Jean 


to 
Mr. William Schiff 


Fig. 1280B 
Wilham H. Sharp 
Miss Mary Thompson 
Married 
on Saturday the sixth of April 

one thousand nine hundred and twenty-three 

Toledo, Ohio 
At Home 


after the first of May 
936 Euclid Avenue 


Fig. 1281B 


Mr. and Mrs. Solomon Block 
announce the betrothal of their daughter 
Genevieve 


to 
Mr. Joseph Ellison 
Reception 
on Thursday, January the tentb 
from two until five o’clock and seven until ten 
332 South Taylor Street 
Milwaukee, Wisconsin ~ 


Fig. 1282 


Mr. and Mrs. Donovan F. Rendle 
announce the marriage of their daughters 
Pear] Pauline 


to 
Mr. Howard Harold Sprankle 
an 
Gladys Mary 


to 
Mr. Charles Wiley Wallace 
on Tuesday, the thirtieth of September 
nineteen hundred and twenty-three 
Danville, [linois 


Pages 537 to 552, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 


Coated Paper Co., Hamilton, Ohio. 


538 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1283B 


Doctor and Mrs. Frank Thurston 
announce the marriage of their daughter 
Bess 


to 
Mr. Fred Cason Warren 
on Friday the twenty-sixth of November 


one thousand nine hundred and twenty-three 


Knoxville, Tennessee 


At Home 
after the tenth of December 
Daytona, Florida 


Fig. 1284 
Mr. Woodrow Wimmer 


and 
Mrs. Norman Walker 
nee Edith Russell 
announce their marriage 
on Saturday the eighteenth of December 
nineteen hundred and twenty-three 
Richmond, Virginia 


Fig. 1285 
Mr. Elmer G. Graham 


and 
Mrs. Mary Elizabeth Bruce 
announce their marriage 
on the twentieth of December 
nineteen hundred and twenty-three 
Kansas City, Missouri 


Fig. 1286 


FOR INASMUCH AS 
it prevaileth yet from a very old 
custom, so let this little messenger 
be intrusted to advise you 

THAT 
Anna Russell of Chicago and 
Hal W. Hanson of Peoria, 
being in the same state, having 
plighted their troth, are now 


wedde 
THAT IT WAS DONE 

on a Thursday, 28 October, the year, 

MDCCCCXX, anno domini, in the city 

of Paris, state of Illinois 
FURTHERMORE, KNOW YOU 

that they will be AT HOME after 

November tenth, next, at 555 South 

13th st., Peoria, which is in 

Peoria County, Illinois. 


Fig. 1287B 
Mr. and Mrs. Han Brown 


0 
Columbus, Ohio 

announce the marriage of their daughter 
Bertha Elizabeth 


to 
Mr. Ernest Field Victor 
son of Rev. and Mrs. Thomas Victor 


0 
Hartford, Connecticut 
on the sixth of November 
nineteen hundred and twenty-three 
Marion, Ohio 


AT HOME CARDS 


The better form is to enclose with wedding invitation or announce- 
ment, a separate “at home’ card, although the card may be engraved 
in the lower left corner of either. In the case of the long shaped wed- 
ding sheet, the ‘‘at home”’ card does not look so well in the lower corner, 
and is frequently engraved, centered from left to right, immediately 
below the invitation, or announcement, proper. When placed in this 
position it may be either entirely separated by spacing from the part 
above and engraved in a smaller letter, or it may be the same size as 
the main part of invitation or announcement. 


Fig. 1300 Fig. 1302 
Will be at home 
after the fifteenth of November 
Three thousand two hundred and two 
Washington Boulevard 


At home 
after the thirtieth of November 
Los Angeles, California 


Fig. 1301 : 
anaes Fig. 1303 
after the first of February At home 

Nine hundred and thirty St. James Avenue fourth Tuesday in May 
Chicago, Ilinois Two thousand and five Maple Street 
Omaha, Nebraska 
Fig. 1304 
Mr. and Mrs. Van B. Coldsnow 
Will be at home 
after the twentieth of July Montpelier, Ohio 


WEDDING AND RECEPTION CARDS 


Reception cards should be of the same shape as the invitation sheet 
after folding, and should be enclosed only to those whose presence is 
desired at the reception. 


CoprER PLATE ENGRAVING 539 


Fig. 1311 Fig. 1319 


Please present this card at the church \ __Reception 
immediately after the ceremony 
six hundred and thirty-nine, East Seminary Street 


Fig. 1312 
Please present this card at Fig. 1329B 
St. James’ Church Reception 
on Saturday the thirty-first of December from half after eight until eleven o’clock 
Columbia Club 
‘ Please reply 
Fig. 1313 Twenty-two South Broad Street 
will please present this card at Fig. 1321 
St. John’s Church pee 
at nine o’clock 
Fig. 1314 = 2815 Washington Avenue 
Wedding Ceremony Sec ah 
at half after seven o’clock Fig. 1322 
Please respond 
Fig. 1315B 138 West Taylor Street 
Breakfast ' Fig. 1323 
at half after one o’clock Mr. and Mrs. Samuel Hunt Masters 


1235 North Fifteenth Street Roaarst the pleseure of 


: company on Wednesday, the twentieth of October 
Fig. at at half after three o’clock 
_ Reception at one thousand and forty-seven 
from nine to eleven o’clock Euclid Avenue 


VISITING CARDS 


The accompanying diagram indicates acceptable sizes of visiting 
cards for Miss, Mrs., Mr. and Mrs., Mr., Men’s Club and juvenile. 
Unless the name to be engraved and printed clearly indicates the size 
that should be used, always specify, when ordering, the size the cards 
should be. Special sizes are usually furnished at a slight additional 
cost. 

The Mr. and Mrs. size of visiting card is little used, although very 


JUVENILE 


Line zine made from pen drawing with proofs from type of text. 


Fig. 1329. Diagram showing acceptable sizes of visiting cards. 


240 


convenient when sending presents, etc., in which both husband and 
wife join. Separate cards for husband and wife may be used as well. 
When separate cards are used by Mr. and Mrs., the names should be 
engraved in the same style of engraving on cards of the same length. 
A prefix as Mr., Miss, Mrs., Dr., Rev., etc., should be used on all 
cards for social purposes. 

Many engraved visiting card plates, social and business size, are 
used for special purposes, such as imprinting, or over-printing Holi- 
day Greeting cards, calendars, etc., and while the results are very 
pleasing, the expense of using plates and dies for such purposes is 
varied, depending upon the ease or difficulty in handling the work, 
which can be determined only by the actual time required for the 
completion of each job. The size and thickness of the sheet as well 
as the position in which the impression is to be made must be taken 
into consideration, also the color, etc. 


COMMERCIAL ENGRAVING AND PRINTING 


BIRTH ANNOUNCEMENTS 


The coming of a baby into the world is an occasion when a pleasing 
variety of engraved announcements may be used. Sometimes a tiny 
card, bearing the baby’s name and birth date, is tied with white 
ribbon to a card showing the mother’s and father’s names. Various 
clever cards may be designed, showing storks, etc., and in some cases 
a touch of color may be added, usually pink for a girl and blue for a 
boy. Sometimes a single card may be used embodying the announce- 
ment of the birth, the name of the child, the date, the place, and the 
names of the parents. 


Fig. 1330 
Helen Lee Brown 


Born March 5, 1923 
Mrs. and Mr. Louis Brown 


Fig. 1331 
Virginia O’Brien 
orn 
Wednesday the fifteenth of September 
Nineteen hundred and twenty-three 


Toledo 
Mr. and Mrs. Thomas James O’Brien 


Fig. 1332 


Mr. and Mrs. Victor Walker 
announce the birth of a daughter 
Andrea 
Tuesday, May Fourth 
Nineteen Hundred Twenty-three 
Topeka, Kansas 


ANNIVERSARY INVITATIONS AND ANNOUNCEMENTS 
These are usually printed in black, but at an additional cost may 


be printed in silver or gold. 


Fig. 1349B 


1873 ({nitial) 1923 
Mr. and Mrs. Samuel Smart 
announce the Fiftieth Anniversary 
of their marriage 
on Thursday the fourth of November 
At Home 
Seven hundred twelve North Meridian Street 
Indianapolis, Indiana 


Samuel Smart Jennie L. Gasper 


Fig. 1341B 


1898 (Monogram) 1923 
Mr. and Mrs. John A. Morris 
request the pleasure of your company 
at their 
Twenty-fifth marriage Anniversary 

Saturday evening November the sixth 

from eight until ten o’clock 

Lexington, Kentucky 
John A. Morris Julia L. Gordon 


Fig. 1342B 


1898 (Monogram) 1923 
Mr. and Mrs. J. S. Maholm 
request the pleasure of your company 
at their 
Twenty-fifth marriage Anniversary 
Friday evening February twenty-eighth 
from eight to eleven o’clock 
2241 North Capitol Avenue 
Jackson, Michigan 


Fig. 1343B 


1908 (Monogram) 1923 
Mr. and Mrs. William Grant Forsyth 
At Home 
on Wednesday evening the twenty-seventh of December 
at eight o’clock 
5621 Beechwood Avenue 
Five Hundred 


~ 
C= 


we \{ cy) oan Po ist ° & ~~] 
Mp, And / prs. Richard Lewis B rewer, |P. 
request The pleasu re oy your presence 
al the MAPPIAGe 0) their daughter 
M oy Cad th 
i: \apy Swdith 
To 


of i= ae ( of 42 e 
Dp, Trank Whi Iney G odwin 


On Oaly rday evening, the tenth 0) Novembe P 
One thousand Nine ‘bu ndred and twe nly-three 
al bal ater Seven oclock 


lreet Nethoiist Bpiscopal Church South 
Ouyo! L Vi Pqinia 


> 


Mai NX o 


Fig. 13448. Print from an engraved copper plate. 


The sheet was platemarked before printing. Printed on hand plate press. 


Printed on 21x83—74lb. “‘Crane’s Kid Finish” made by Z. & W. M. Crane, Dalton, Massachusetts. 


Copper Piatt ENGRAVING 


o41 


PARTY AND DANCE INVITATIONS 


All formal invitations should be engraved. For dinners, dances, 
or receptions, a specially engraved card should be used. It often hap- 
pens, however, that the hostess entertains frequently with smaller 


and more informal affairs, such 


as teas, bridge parties, etc. 


In this 


event, a general engraved form may be used with spaces left for filling 
in the guest’s name, the date of the function, and the form of enter- 


tainment. 


The debutante’s name appears below her mother’s on the invita- 
tion generally used which introduces her to society. 


Fig. 1350 


Mrs. Samuel Smith 
(or Mr. and Mrs. Samuel Smith) 
Miss Smith 
At Home 
on Thursday September the fourth 
from three until six o’clock 
Highty-two Fourth Avenue 


Fig. 1351 


Mr. and Mrs. John Arthur Morris 
request the pleasure of 


company at. 
on 


0 clock 
1001 Michigan Avenue 
The favor of an answer is requested 


Fig. 1352 


Mrs. Harry Louis Ritselman 
requests the pleasure of the company of 


on the afternoon of___ 
521 West Adams Street 


Fig. 1353 


Mr. and Mrs. John Arthur Morris 
request the pleasure of 


company on Tuesday evening the sixteenth 
of November at half after eight o’clock 
One thousand and one 
Michigan Avenue 
Dancing 


Fig. 1354B 
Mr. Charles Parkman Richards 
Miss Richards 
request the pleasure of 
eee * company 
on the evening of Tuesday February tenth 
at Dinner at eight o’clock 
at the University Club 
Minneapolis 
3249 North Meridian Street 
To meet 
Miss Margaret Richards 
and Mr. George Goodwin 


Fig. 1355 


Mrs. George Irving Brown 
Mrs. Charles Bruce King 
Tuesday afternoon, October sixteenth 
Colonial Hall 
Colonial Tea Two to Five o’clock 
Fig. 1356 
Mrs. Ernest Walker 
(Monogram) will be at home 
on Friday afternoon the twentieth of October 
from three to six o’clock 
Thirty-four hundred North Main Street 
Miss Ethel Fuller Browning 
Mrs. John Banks Biddle 


Fig. 1357B 


Mrs. B. M. Moore, Jr. 
At Home 
on Tuesday afternoon March second 
1131 Clinton Street 


Fig. 1358 


Miss Viquesney 
Miss Lucile Viquesney 
The Elks Club 
on Monday evening the first of January 
at eight o’clock 


Rtn Sb wie 10) Dancing 


Fig. 1359B 


Mr. and Mrs. H. P. Bolin 
request the pleasure of your company 
on Saturday evening, September the twenty-seventh 
from eight-thirty to eleven o’clock 
To meet Mr. and Mrs. Roy Hastings 


Fig. 1360 


Mr. Burch Ijams and Mr. Webb Boggs 
request the pleasure of your company 
at their 
Third Annual Yama Yama Dance 
Terre Haute Country Club 
Monday evening, September 17, 1923 
Please attend in costume 


Fig. 1361 
(Club Emblem) 
We dance 
Tuesday June the twenty-seventh 
Canoe Club 
Eight-thirty 
Fig. 1362B 


Iris Fraternity 
Formal Dinner Party 
Friday evening the twenty-seventh of March 
six o'clock 
Masonic Temple 


Fig. 1363 . 
Delta Sigma 
Friday evening April sixteenth 
Brenneke’s 
Dancing Eight-thirty 


Fig. 1364B 


The Members of the Detroit Club 
request the pleasure of 


presence at a Reception to be given 
on Friday evening, December the thirtieth 
at ten o'clock 
The favor of an answer to 


Cotillion the Secretary is requested 


542 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1365B ; Fig. 1369 
The Alpha Theta Sorority 903 3 ; 1923 
request the honor of your presence at their The Wi-Hub Circle 
Third Annual ; __ Elks Hall 
on Saturday the twenty-second of May Friday evening the eleventh of October 
eight o'clock R eight o'clock 
SSaivenDe 
oe Fig. 1370 
Northwestern 
Fig. 1366B : Game at two P. M. 
Mrs. Jason D. Lucas ete Beta 
Mrs. Bernard C. Helm Phi Kapa 


Mrs. Louis Lane 
will be at home requests the pleasure of your company 
on Thursday afternoon June the tenth at the opening 

from two until five of her new home 


Eighteen thirty North Alabama Street on Saturday evening October sixth 
at eight o'clock 
For Phi Psis 


Fig. 1367B ‘ and Phi Psi Families 
Alpha Phi Fig. 1371 
request the pleasure of your company at a Delta Epsilon 
Garden Party Delta Delta Delta 
on Friday evening the first of May Fourth Annual Forma! 
at eight o’clock St. Nicholas 
Alpha Phi Lodge Friday evening April ninth 
nineteen hundred twenty-three 
Fig. 1368 eight o’clock 
Beta Upsilon P 
of Delta Tau Delta Fig. 1372 
requests the presence of Ninth Annual Banquet 
Phi Chi Medical Fraternity 
at the Twentieth Annual Stag Dinner Tuesday evening February twenty-eighth 
Saturday evening November the tenth nineteen hundred and twenty-three 
nineteen hundred twenty-three at eight o’clock 
Chapter House Claypool Hotel 


BUSINESS CARDS 


The text matter on a business card should be brief and pointed. 
It should be made up of the individual name, firm he represents, the 
line of business, and the address. Firms having an established trade- 
mark, or trade phrase, should add this. The style of engraving should 
be plain and legible and so arranged as to present a nicely balanced 


design. 


No. 13 


No. 10 


Line zine made from pen drawing with proofs from type of text. 


Fig. 1380 Diagram of sizes of business cards. 


Copper PLATE ENGRAVING 


043 


Firms requiring cards for a number of individuals will find it 
economy to have one principal plate made with the firm name, line of 
business, address, trade-mark, if any, engraved and the cards printed 
in quantity. Separate plates or dies may be made for the individual 
name and these printed in the lower left corner in quantities as needed. 

The psychological effect of a distinctive engraved card on the 


Rel) 


KUTENBER MOTOR COMPANY 


Dopp & StarsuK nes, bre. 


Drew Monrx fowes 


72 veer 


CL Brrbank 
64 Meme :Mnoon tly 
Welire Pod omgany 
fost Moye 


FLOYD E. PAYNE CO 


PAYNES, 
LUNCHES 


INDIANA’ 


N 


Aibler-Liebor Company 
Cobar 4 Prcenerred Msemstlactarers 
Aoticoree peal, bnet. 


Worm & Company 
Pork aod Beot Packers 


atmos Let 


MODEL 4% 


eis 
MILLS 
Posts 


toe? 


MSLeanseoro Ictinois 


> enews 


W.T. STALNAKeR 
Tae Parnpmpen Co 
eames 


x 


: Fo 
. Frclounapiola, Hhewest Couipun 4, 
Meolnie Masten Material 


Yiu Peaneue 


AC 


Wreroare Merrerer Cane Can 


TAMVESTAD HUSIC HOUR 
erierLOM, 


KF SMITH 


LOUNETOM MIO: 


ae Sem Wamaoe 
TH AetiTH GAS ENGINEERING CO 


he 


AMERICAN Ural, MINING Convan'y 


I SG Sewky 


16 Toomgeed forsee 


ES fe rey 


bel 4. Yoolh 
Egpriloltc bef Wosted lates 
OY Rode hroacs 


Poon PL fvteegn Mroheans 


Me SAL at wolrcry 
Seow bar, Wl 


ree raneron can AP nen oe 


rchiwwnpoler Cromservaby nf Masts 
7-0. PALM Re 420, terth Morectinne frock 
Hime lod hy, 


Facha mip les Suet SS 


AW 


a, 
SM.Gaim & SON 
pirenaraierrnres f 
INDIANA HAROWORD LUMmER “ 
‘ 
Ee 


BALE IND, 


pe 


7: 17 
sfolun ft Watter Goreon. Lb. Golem se 


hire Melest 


Carkony. ieee 


WI Grvg sel bb Coresyiold, Deoet- 
Y" 


Marin Wanl Gleasi Car 
Marte 
ML PMopesaser Seed 


Sreshing. BN 


Bieling Motor Car Co. 


Aodhan polis 


Robert G MeClure 


s Bndlowapeliy 
Gare 2% Foray 
Mee hoes § Somrnd Cerne gis 


Sow erie 


F Ket 
Lecay Tek Aron Remhn 


Chatlomoenp Brow HE Goutl Copan 


NOt TIE KEND WATCH COMPANY 
NOTE RIN. NDE 


MABELLE M. HEAD 
ey ceenren sremerener 
marines ems et 


mere nanan sett 


psvieby INDIANAPOLIS 


ASEMICAS Sirermsiey Lack ©. 


ATLANTIC City 


Wi reriony lame tT 


THE BOZEMAN MILLING co. 
women, 


OE Wray 
Canna Mane 


Muros W. Mascva 


Aare ay Law 


comanareen 
A ery Courrome tiem, 


Hatter Wise 


BIST BROTHERS, 
TACT ORS inelanaerue 
AAKCH AOD TeRKA cotta 


Ow. PULERR 


weer Inrstanavorie 
Cw ateinnanr co. 
seoee soorran area cn 


Goxnox-MeN«aAt Go. 
EXTENSION 10m ABATES 


dOteNy orm, 


Lid 


Anumican Cast Iron Fire Co. 


(Missed SD Aacahling 


Sedvagiche 


HURST H, SARGENT 
ATTORNEY AY Law 
Pa a ne ern ey 
(Woiwaroue 


MASSES BQ 


MAIN MOTOR TRECK COMPANY 


IN ANARO LIN 


Preens 


Halftone, 175 line, square finish, no line. Made from slightly retouched photograph of grouped cards. Reference letters 
from line negative over which halftone negative was printed in making the plate. 


Fig. 1381. Group of business cards, suggesting arrangement, style, etc. 


244 


mind of a prospective customer is the thing that makes it valuable 
aside from the feeling of satisfaction to the user. A salesman worthy 
of the name is entitled to carry an engraved business card. 


COMMERCIAL ENGRAVING AND PRINTING 


MISCELLANEOUS 


Fig. 1390 


Dr. John H. Hughes 
announces the removal of his offices to 
400-404 Fidelity Building 
210 Broadway 
Hours 10:30 A. M. to 12 M. and 2:30 to 4:30 P. M. 
Telephones 

Indianapolis, Indiana 

November 1, 1923 


Fig. 1391 


Piano Recital 
Anna Elizabeth Bochner 
assisted by 
Estella Marie Fish 
Vocalist 
Saint Rose Academy, Atlanta, Georgia 
Wednesday evening, May thirty-first 
Nineteen hundred and twenty-three 
at eight o’clock 


Fig. 1392 


-ELKS- 
Brainerd Lodge No. 615 
Bae Olek 


invite yourself and ladies to attend their 
Twelfth Annual Ball 


on 
Monday evening the thirtieth of December 
nineteen hundred and twenty-three 
Gardner Hall 
Brainerd, Minnesota 
Admission Tickets 
Two Dollars each 


Fig. 1393 


We will be pleased to have 
you attend our Annual 
Spring Opening 
Monday and Tuesday 
March 22nd and 23rd 
Afternoon, Dinner and 
Evening Gowns, Wraps 
Coats and Tailored Suits 
Silk, Wool and Cotton Fabrics 
Millinery 
Footwear, Hosiery and Accessories 
The Dressmaking 
and Tailoring Departments 
are now open. 

The Wm. H. Macey Co. 
Boston 


Fig. 1394 
Dear Sir: 

We respectfully refer to the fact that Christmas is 
coming as usual on December 25th and being anxious to 
have our patrons purchase early we suggest that all pur- 
chases made for Christmas will not be due until January 
statement. This will permit you to trade in November 
and avoid the rush due to our heavy Holiday business. 

Thanking you for your patronage, we beg to remain 

Very truly yours, 
Globe Clothing Store. ° 


Fig. 1395 


Alfred F. Post and Oscar L. Brown announce the for- 
mation of a partnership for the practice of law under the 
firm name of Post & Brown with offices at 1109-12 Law 
Building, Pittsburg. 

They will be pleased to serve as counsel in the organi- 
zation, financing and management of corporations and 
the affairs of public utilities. 


Fig. 1395 


Mr. 8S. D. Rogers 
To you, who have been 
our business associate 
and adviser for years past 
we extend 
Our wishes 
for a 
Prosperous and Happy Future 

Our signatures betoken 

our wishes 


Employees of the 
Dayton Watch Co. 
September 15 
1923 


Fig. 1397 
Permit us to make personal 
acknowledgment of the excellent 
business you are doing this season 


in 
Kahn Tailored Clothes 
and to express our appreciation of 
your patronage 


Pres. 
Indianapolis Treas. 
December 1923 Secy. 
Fig. 1398 
(Club Emblem) 


At the request of 
Mr. 


The Board of Directors of 
The Manhattan Club 
have the honor to extend to 


ig ean etter eos ie EOS 8 SE ete 


the courtesies of the Club for a 
period:of2aes a cae 


“19222 Samuel Atherton Secy 


Fig. 1399 


(Crest) 

You are cordially invited 

to attend the formal opening of 
Hotel Washington 
Louisville 
on Saturday evening 

the twenty-third of March 

nineteen hundred twenty-three 
at seven o'clock 


Fig. 1400 
Kindly reply 
before April the fifth to 
William O. Hughes 
754 Merchants Building 
Columbus 
Plates $2.00 


Fig. 1401 


Saint Paul 
Minnesota 
We acknowledge with 
thanks your remittance for which a 
receipt is herewith enclosed. 
Very respectfully, 
L. S. Block & Co 


Copper PLATE ENGRAVING 


Fig. 1402 


(Monogram) 
Francis Hendrickson 
Tailor 
extends to you a cordial invitation 
to inspect 
The Spring Fabrics 
Your valued order will be highly appreciated 

Buffalo 
200 Hume-Mansur Bldg. 


Fig. 1403 


Mrs. M. A. Hipsh 
Designs a Hat for You 
Newness in Hats and Millinery Novelties 
Appointments 
Telephone 1175 


1923 


412-414 Baum Bldg. 
Fig. 1404 


American Life Insurance Company 
New York 
I am pleased to acknowledge receipt of your appli- 
cation for insurance and to advise you that it is now fol- 
lowing its regular course through the various departments 
of this company. 
Herbert Brown 


President 
Fig. 1405 


(Trade-Mark) 
We are giving you our business 
Do you give us yours? 
Davis Bros. Manufacturing Co., 
Boston, 


Massachusetts. 
Fig. 1406 
The Hercules Car. Mfg. Co. 
invites you to inspect the new 
Hercules Car 
Space B-14 Second Floor Grand Palace, New York 
January second to ninth 


o45 


Fig. 1407 


John A. Morris has associated himself 
with a number of well-known business men 
to build Morris Automobiles for the public 
This corporation known as the 
Morris Automobile Company 
is located at 900-950 East Washington Street 
Kansas City, Missouri 


Fig. 1408 
Delta Epsilon 


0 
Delta Delta Delta Fraternity 
invites you to become 
one of her members 
Please answer here 


Fig. 1409 


The Faculty 
and Senior Class 
of 
Sweet Briar College 
request the honor of vour presence 
at the 
Tenth Annual Commencement 
May twenty-ninth to June first 
nineteen hundred and twenty-three 
Sweet Briar, Virginia 


Fig. 1410 


Center Church 
Washington St. and Wabash Ave. 
Crawfordsville, Ohio 
To the ushers 

Introducing Mr. 


Please to give the bearer the best seat at your disposal. 
Walter L. Jayne 
Pastor 


HOLIDAY GREETINGS 


An increasingly popular custom is that of sending holiday greetings 


to one’s personal or business friends and acquaintances. While it is 
possible to purchase attractive cards for this purpose at most stationers, 
these are naturally only general in their character. It is much more 
intimate and appropriate to have one’s own engraved greeting card, 
thus lending a personal touch to this courtesy. 

It would be impractical to attempt to illustrate the unlimited 
number of shapes, designs, etc., or to print a list of the sentiments 
that may be expressed. An inquiry to or a conference with the en- 
graver will result in obtaining that which is wanted. 


DEATH ANNOUNCEMENTS 


Fig. 1425 


With deep sorrow we announce 
the death of our President 
Mr. Frederick William Springer 
Tuesday, January nineteenth 
Nineteen hundred and twenty-three 
The F. W. Springer Machine Company 
Richmond, Indiana 


Fig. 1426 


With deepest sorrow we announce the death of 
Mr. John Norton 
the President and Founder of this Company 
on Thursday the thirtieth of September 
One thousand nine hundred and twenty-three 
Norton Manufacturing Company 
Springfield, Mass. 


Fig. 1427 


It is with sincere regret 

we announce the sudden death of 
Mr. Robert H. Emerson 

President of this Company 

Monday, May fifteenth 

nineteen hundred and twenty-three 

Emerson Manufacturing Company 
Cleveland, Ohio. 


Fig. 1428 


With profound sorrow we announce the death of 
Joseph May 
Age Eighty-four years 


which occured Thursday the fourth of September, 1923. 
He was one of the founders and for many years the 
President of this Company. 


The Joseph May Company 


Jackson, Miss. 


246 


Fig. 1429 


It is with profound sorrow that 
we announce the death of our 
Mr. Samuel Johnson 
which occurred 
on Thursday, March sixteenth 
nineteen hundred and twenty-three 
The Chamberlain-Jones Co. 
St. Louis, Missouri. 


Fig. 1430 


It is with deep sorrow 
that we announce the death of 
our President 
Mr. Willam Watson 
on Monday, January the third 
nineteen hundred and twenty-three 
Boston Watson Paper Company 
Massachusetts 


Fig. 1431 


We announce with profound sorrow and regret 
the death of our President 
Mr. John Morris 
September thirtieth 
nineteen hundred and twenty-three 
Morris Automobile Company 
Jackson, Michigan 


Fig. 1432 


In Memoriam 
Charles M. Kelley 
President and Manager of 
The C. H. Kelley Co. 
Died December 28, 1923 
at his home 
Parkersburg, W. Va. 


COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1433 


Messrs. James Pike and Company 
of New York and Chicago 
announce with profound sorrow 
the death of their Chicago manager 
Mr. Charles Anderson 
on Tuesday the fifteenth of February 
nineteen hundred and twenty-three 
in the forty-eighth year of his age 


Fig. 1434 


The Union Life 
Insurance Company 
With Profound Sorrow Announces the 
Death of 
William K. Brown 
on Tuesday the twentieth of October 
One thousand nine hundred and twenty-three 
He was one of the founders of this company and from 
the time of its organization was the 
Secretary and General Manager 
Henry Russell 
President 
Home Office 
Buffalo, New York 


Fig. 1435 


The Harris Milling Company 
announces 
tke loss at Sea 
of its President 
John Harris 
Thursday the thirtieth of September 
nineteen hundred and twenty-three 
Minneapolis, Minn. 
October 1st, 1920. 


SYMPATHY ACKNOWLEDGMENTS 


Fig. 1450 


Your kind expressions of sympathy 
are deeply appreciated 
and gratefully acknowledged 


Fig. 1451 


Mr. John Morris 
and Mrs. Edith White 
deeply appreciate your sympathy 
in their sorrow 


Fig. 1452 


Mr. and Mrs. Newton Clay 
Mr. and Mrs. Winthrop Colburn 
Miss Claypool 
gratefully acknowledge 
your kind expressions of sympathy 
Los Angeles, California 


Fig. 1453 
Mr. Walter Elliott 
and Mrs. Clara Gorgas 
deeply appreciate your sympathy 
in their sorrow 


Fig. 1454 
Mrs. William Murray 
and Mr. Edwin Murray 
thank you for your 
kind expression of sympathy 


Fig. 1455 
Mrs. Robert E. Mason 
Miss Helen B. Harvey 
Mr. Wm. Howard Harvey ~ 
gratefully acknowledge your kind 
expressions of sympathy 


Fig. 1456 


Mr. John Morris 
and family 
acknowledge with grateful appreciation 
your kind expression of sympathy 
in their bereavement 


BOOK PLATES 


The purpose of the book plate is to identify and protect. The 
book plate is usually mounted on the inside of the cover of each book. 
The design and process of making may be anything that suits the 
owner’s fancy, from a letterpress print from line etching to a most 


Pages 537 to 552, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 


Coated Paper Co., Hamilton, Ohio. 


CoprpEeR PLATE ENGRAVING 547 


elaborate embossed and hand tinted print from steel die. Prints from 
an engraved copper plate following an original sketch from the owner 
or.a close personal friend, are in excellent form and have an exclusive- 
ness that is almost ideal. Suggestions for designs are illustrated in 
Fig. 297B, under the subject Methods ot Treatment. 


ETCHINGS 


Etched plates from which the prints of art subjects are made are 
produced by scratching or drawing the design with an etching tool on 
a copper plate that has been thinly covered with wax. The etching 
needle or tool exposes the metal in the design which has been sketched 
on the wax, while the wax on the remainder of the plate acts as a 
resist to the action of the acid used in etching or biting the exposed 
lines into the plate. Errors may be corrected in the drawing, before 
the etching is commenced, by re-coating the incorrect surface and 
then re-drawing over it. After the plate has been etched the wax is 
removed and prints are made from it as in the process of copper plate 
printing. The artistic effects in the finished prints depend entirely 
on the skill of the artist in making the etching, who usually also 
makes the prints. Dry point or scratched plates are made by the use 
of a fine etching needle in making the incision of the lines on the copper 
plate, without the use of acid or etching. ground. The process of print- 
ing is the same as from other intaglio engraved plates. 


MEZZOTINT ENGRAVING 


This is one of the oldest intaglio processes and is no longer prac- 
ticed except in a very limited way. It is probably the most tedious 
method of reproduction known and for successful results requires an 
artist or mezzotinter of highest skill. 

The surface of the copper or steel plate that is to receive the en- 
graving is gone over with an instrument called a rocker, a semi-round 
tool with fine teeth on its surfaces, which is rocked back and forth 
until the entire surface to be engraved is thoroughly and finely rough- 
ened in a uniform manner. A proof taken at this stage will show a 
soft solid black from the entire engraved surface. The image to be 
reproduced is now transferred to the roughened surface and then by 
a process of scraping away of the burrs on the rough surface the inden- 
tations of the rocker are left in the various depths necessary to pro- 
duce in the print the amount of color required. The best plates have 
been made on copper, and as burrs are easily broken off in the process 
of inking, wiping and printing, only a limited number of prints may 
be made from such a plate, some of the best artists getting only twenty- 
five or thirty perfect impressions from a plate. 


Steel Plate and Die 


Eng i ‘aving, and |D nting 


‘Fiosganaiciinnaancacnean MAAR Ass 


*Fig. 1550. 
TEEL plates and dies are engraved by the intaglio process, the 
printing characters being engraved below the surface of the plate 
or die. Steel plates are largely used for bank-notes, certificates, 
bonds, commercial headings, business cards, and other commercial work 
in which it is desired to obtain the effect of copper plate engraving in 
longer printing runs than the copper will stand. Embossing from steel 
dies is largely used for business, professional and social stationery, 
address lines, crests, monograms, etc. For business stationery there 
is probably nothing else so attractive, and with such distinguishing 
characteristics as steel die embossing. An embossed letterhead brings 
a feeling of satisfaction to the one who uses it and it unquestionably 
adds something to the message that may be written on the sheet and 
secures for it a more respectful consideration. Those who may have 
occasion to use only a limited amount of stationery in their business 
or professional correspondence but who appreciate the value and the 
satisfaction of using steel die embossed work, will find that even on 
small quantities the expense is not excessive. 

Steel die embossing may usually be recognized by its pronounced 
raised appearance together with its clean, sharp outlines. There is a 
perceptible embossed effect in copper and steel plate printing, but 
this is due to the ink lying on the surface of the paper rather than to 
the paper having been raised from the back by having been stamped 
or printed over a counter die, as in steel die embossing. 


HOW TO ORDER 


The first step in placing an order is to determine definitely the text, 
style of engraving, and size of die. It is desirable that the customer 
furnish the text and information as to what the work is to be used 
for, leaving it to the engraver to submit suggestions by means of rough 
pencil sketches for the more simple work or finished in pen and ink 
and color for the more elaborate. 

Sketches are not only necessary for the guidance of the engraver 
in most cases, but except in plain work, are almost a necessity to 
enable the customer to understand what he is to expect in the finished 
work and to enable the customer and the workman to understand each 
other thoroughly. 

Sometimes it may not be convenient to send to the engraver a 
copy of an embossed sample which it is desired to submit as a guide. 


*Combination halftone, 150 line, square-outline and line zinc. From slightly retouched photograph of group of dies 
and plates and pen drawing of lettering. 


MANUFACTURERS 


_ _Coppes BRoTHERS &Zook 


NEE 
 DONTES*, 


NAPPANEE, INDIANA,U.S.A. 


Fig. 1551. Special designed letter die. 


CLARENCE M. BROWN JOHN H. MORRIS 


ORFICE |O.F 


BROWN & MORRIS 


LAWYERS 


NEW CASTLE, INDIANA 


Fig. 1552. Plain letter die. 


QUALITY COUNTS 


\\ \\ \ NS S ee 


KASS 
NE 


Lf, Wy Hy |} ! 1 
My Wt |i pee y 
CRAWFORDSVIL 
; \\ 


SEND. 


Fig. 1554. Special designed letter and vignette or ruled-ground die. 


Printed on 21x33—74ib. “Crane’s Kid Finish” made by Z. & W. M. Crane, Dalton, Massachusetts. 


STEEL PLATE AND Dtrk ENGRAVING 549 


A copy may frequently be successfully made by placing a sheet of 
tissue over the sample and rubbing over it with the side of a pencil 
point. A fairly good outline may be made which will give the engraver 
a thorough understanding of your idea. 

In steel plate and die engraving, as well as copper plate, the more 
elaborate as well as ordinary work, is marked out directly on the steel 
or copper and the engraving proceeds, no drawing being required. Ifa 
preliminary sketch has been prepared it is used only as a guide in lay- 
ing out the design on the plate to be engraved. 

Drawings, line or wash, photographs and other kinds of copy are 
frequently transferred to the die or plate by photographic process, 
to save time and to secure accuracy and correct proportions. For 
work that is to be hand cut, line negatives are used, but copy in the 
nature of portraits, birdseye views, animals, etc., may be placed on 
the metal by means of halftone negatives which are afterward etched 
and tool finished. This photo-mechanical process insures an exact 
likeness of the original, which is not always possible when the work is 
hand engraved, unless done by a specialist at a considerable expense. 


PORTRAITS ENGRAVED ON STEEL 


A great many portraits are engraved on steel and prints from 
them used for inserts in special editions of books. The face of the por- 
trait is usually transferred to the steel plate by the halftone process, 
also the outlines and is known as a halftone intaglio engraving. The 
remainder of the picture is etched in through the use of etching ground 
and ruling machine, re-etching, tooling, etc. 

The best prints from such plates are usually made on dampened 
paper and the process of printing is the same as with copper plates. 
A pleasing effect may be obtained by paneling the sheet on which 
the print is made. A thin sheet of special India tinted stock is some- 


Outline-vignette halftone, 150 line, from slightly retouched photograph. 
Fig. 1561. Steel embossing dies. 


550 COMMERCIAL ENGRAVING AND PRINTING 


times used under the print and extending so as to form a panel for the 
print, this being used with or without the depressed panel in the sheet. 
This tinted sheet is placed over the plate after it has been wiped ready 
for the impression and the larger card or sheet placed over this in 
proper position to take the impression. The impression transfers the 
print to the tissue and the pressure causes the tissue to adhere to the 
main sheet. 
STEEL PLATE ENGRAVING 


Steel plates on which engravings are made are about one-eighth 
of an inch thick and with edges slightly beveled on the side finished 
with a polished surface. These plates come in a range of sizes to meet 
every need. For hand press printing, the plate should be larger than 
the stock on which it is to be printed. The metal is soft enough to 
permit of cutting the lines in the plates with a hand tool, the method 
of doing the work being similar to the process of copper plate engraving 
described in the preceding chapter. Steel plates are more expensive 
than copper plates and, being harder, are more difficult to engrave, 
hence engraving on steel plates is higher in cost than engraved copper 
plates. The chief advantage steel plates have over copper plates is 
in the wearing qualities of the plate. However, a steel plate or die 
will take a much higher polish than a copper plate and thus will pro- 
duce a firmer, cleaner, sharper line. 

After being engraved, the steel plates may be hardened and their 
wearing qualities thus made practically without limit. 


ENGRAVING STEEL DIES 


The process ‘of engraving a steel die is similar to that of engraving 
copper or steel plates, with the exception that they are cut or etched 
deeper, the characters which are to print being first laid out on the 
metal and then cut in with a hand tool. Vignetted or shaded back- 
grounds are etched in, such surfaces being first covered with an etching 
ground, in which the vignetted lines are ruled with a ruling machine, 
the operation exposing the surface of the metal in lines through the 
ground. A bank of wax is then placed around the part of the surface 
of the die that is to be etched, acting as a reservoir for holding the acid, 
which is applied to the face of the die by stages, and allowed to bite 
in. The faint lines get a very short bite, while the heavier ones a longer 
one, etc. The wax bank and the ground are then removed from the 
face of the die and any imperfections are corrected by hand tooling. 

Sometimes when a plate finish effect is desired in the print, the 
character of the work may be such that better results will be secured 
with a steel die cut for plate effect. 

Steel dies are about one-half inch thick, this thickness being neces- 
sary to give them the strength and rigidity required to stand the heavy 
striking pressure they receive when in use. They may be supplied in 
almost any desired size. A very large percentage of steel dies are 
smaller than 2x 6’, some will range up to 4x 8”, and occasionally 
even up to 6x 10”, which is about the maximum size plates that can 
be printed or stamped on an embossing press. It requires a very 
heavy and powerful press for a die as large as 6x 10”. 


STEEL PLATE AND Diz ENGRAVING 551 


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Square finish halftone, 166 line, no finishing line, from slightly retouched photograph of group. Reference letters from 
line negative over which halftone negative was printed. 


Fig. 1562. Suggesting some of the uses of steel plate and die work. 


552 COMMERCIAL ENGRAVING AND PRINTING 


MONOGRAMS 


Special monograms for social stationery are probably more sus- 
ceptible to artistic and tasteful treatment than any other feature of 
steel die engraving and embossing. The variety of styles, of colors for 
stamping, and of stocks that may be used, is practically unlimited. 
The many styles and shapes that are used make it almost impos- 
sible to point out any particular style that might be called the “latest” 
or “‘correct”’ style. While every engraver, or his representative, is 
prepared to show a style sheet of samples, it is well to keep in mind 
that not all combinations of initials are adapted to the special arrange- 
ment that may be shown in the sample selected. Some sets of letters 
will combine and look well in one shape, some in another, etc. Where 
there is doubt or where a special or unusual design is desired, it is well 
to go to the nominal additional expense necessary to have sketch pre- 
pared and submitted for approval previously to the actual engraving. 


COUNTERSUNK DIES 


In many fraternity, sorority and crest dies, a part of the detail is 
brought out in contour by shaping the die in the bottom of the engraved 
part so as to bring out this detail. Such work is known as die sinking 
and such dies as counter-sunk dies. They are considerably more ex- 
pensive than what is known as a surface cut die, in which the entire 
detail is outlined on the surface, the printed result being produced by 
simply cutting the line in various widths and depths to bring out the 
design. 

To economize in the use of ink when printing from steel dies, the 
surface beyond the engraved characters on the dies is usually kept very 
close, usually about one-fourth of an inch. If it is expected to engrave 
additional text on a new die later, the engraver should be so informed, 
that proper provision may be made for the extra space that will be 
required. 

HARDENING AND ANNEALING DIES AND PLATES 


Steel dies or plates that are to be used for runs of any considerable 
length or for frequent small runs should be specially hardened before 
use. This process insures results in the finished work throughout long 
usage equal to the first impression made from it, as there is very little 
apparent wear on a hardened die properly handled. 

A plate or die may be used without hardening, but it will soon 
begin to show signs of wear. 

The process of hardening is as follows: After the proof from the 
newly engraved die has been approved, the die is thoroughly scrubbed 
to remove all dirt and foreign particles. It is then wired, leaving a 
loop on one end as a convenience for handling with a rod while hot. 
The oven consists of a central crucible with heating apparatus, all 
being enclosed in a sheet metal casing. Either electricity or gas may 
be used for heating the cyanide in the oven, which is brought to a 
cherry red heat. The die is then immersed in the cyanide from twenty 
to thirty minutes, after which it is removed and cooled by dipping 
first in sperm oil and then in water. After it is thoroughly cleaned 
and oiled to prevent oxidizing, it is ready for use. 


SoU 
SSS 


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Fig. 1563. Portrait engraved on steel. 


Printed on a plate press. Plate Paper, 24x36—90. 


STEEL PLATE AND Diz ENGRAVING aS 


LES 


S-581 
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S-582 $-584 


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$-596 


S-592 
$S-S94 


Square finish halftone, 166 line, no finishing line. Made from slightly retouched photograph of original (reduced one- 
third) which was stamped in many different colors. Isochromatic plate used in making the photographic negative. 


Fig. 1564. Personal monograms. 


If corrections or additions are to be made in dies that have been 
hardened, the dies must be annealed, or softened, before attempting 
to make the changes, as it is practically impossible to do any cutting 
on a hardened die. In annealing, the die is placed in the crucible, iron 
filings are heaped on it and the heat is turned on until the die is brought 
to a cherry red. The heat is then turned off and the die is allowed to 
air cool. After the die has been annealed, it is drilled out from the 
back to about one-eighth of an inch from the surface to permit punch- 
ing up the face of the die that is to be changed, which is polished down 
so as to obtain a new surface on which to engrave the change. After 
the changes have been made, the die may be re-hardened. Dies are 
sometimes changed by drilling a hole in the face, plugging with steel, 
polishing down and re-engraving. Continual annealing and re-hard- 
ening is more or less injurious to the die. The same procedure may 


Pages 553 to 560, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


554 COMMERCIAL ENGRAVING AND PRINTING 


be followed in hardening and annealing steel plates as is used with steel 
dies and there are other processes in addition to the one described. A 
charge is made for hardening or annealing. 


PRINTING FROM STEEL PLATES AND DIES 


The method of printing from steel plates is the same as from copper 
plates, except that they are usually run on a power press the same as 
a steel die, thus making the cost of printing less than on the hand 
press upon which the copper plates are printed. 


Wiping Paper 


Ink Fountain 
Track for Sliding Table 
(Carrying die to wiping 
mechanism and to counter block) 
Counter Block 


‘Eccentric Pressure 
Shaft 


Counter Block 
Die or Plate 


Combination outline-vignette 150 line halftone and line copper from separate retouched photographs. Halftone negatives 
stripped together and printed over line negative of reference lines and text. All made in one plate. 


Fig. 1565. Front and rear view of power embossing press with 
close-up view of die and counter. 


For long runs of plate or die printing, transfers, or duplicates, may 
be made so that several copies of the subject may be printed at one 
impression. When the original engraved plate is to be preserved, as in 
the case of elaborate and expensive engravings, transfers are made 
from which to print. To make a transfer, an impression is made in 
steel from the engraved die which has been hardened. The hardened 
steel forms a mould for the softer steel which is forced into it by pres- 
sure. The impression on the soft steel is now hardened and then an 
impression is made from it in soft steel in intaglio, and this, being an 
exact duplicate of the original die, is used for printing. Any number of 
impressions may be made on the soft plate or die from the hardened 
impression of the original in relief. The die or plate carrying the 
several impressions is hardened and the printing process is the same as 
from a die or plate carrying a single engraving. 

Very few letterhead jobs can be duplicated so as to run more than 


fod 


STEEL PLATE AND Diz ENGRAVING SAy 


one impression at a time. This is due to the fact that press facilities 
are not large enough for power press work on sheets large enough for 
such duplications of copy, and it is impractical to print this kind of 
work on a hand press. 


STAMPING AND EMBOSSING 


The process of making impressions from steel dies is known as 
stamping, or embossing, the two terms being synonymous in this con- 
nection. The impression is made by a direct up and down striking 
movement, under very great pressure. As both printing and emboss- 
ing are done at the same operation, or rather with the same impression, 
the color and the embossing are always in perfect register. This is not 
true with letterpress printing and embossing, in which the color is 
put on the sheet with one impression and the embossing at another, 
each being done with a different plate. 

The quantity of ink used in steel die embossing is considerably 
greater than for printing on letterpress. There is a much thicker coat 
of ink left on the sheet from steel die embossing than by most other 
methods of printing, and there is also the ink that is wiped from the 
surface of the die and not used in the printing. While there are de- 
vices for reclaiming some of this ink, there is more or less waste. Every 
part of the surface of the die must be wiped perfectly clean to prevent 
imperfections in the stamping. Scratches and other imperfections in 
the surface of the die will fill with ink, and print the same as the en- 
graved characters, unless they are removed. 

Steel plates may be printed on any of the papers adapted to copper 
plate printing. Embossing from steel dies may be done on wedding 
and social stock as well as on linen, bond, hard finish cover stocks 
and bristols of practically all finishes. 

Embossing from steel dies is usually done with gloss ink, the gloss 
remaining permanently. Unless accompanied by the embossing, the 
gloss inks would have a very weak appearance. Dies and plates that 
are engraved and printed for plate effect are run with inks that dry 
with a dull or dead finish, which will produce sharp, clean hair lines. 
For the dull inks, the softer kinds of paper give the best effects, while 
the gloss inks hold up best on the hard papers. 


HAND STAMPING 


Small dies, such as address lines, monograms, etc., on runs of a 
few quires, or a few hundred, are usually run on what is known as a 
hand stamping press, it being necessary to make ready with counter 
die, gauge pins, etc., as with a power press. In the operation of a hand 
stamping press, the die is removed from the press after each impres- 
sion, the engraved surface filled with ink, with a brush, the face of the 
die wiped off by rubbing it on oiled paper and then the die is inserted 
in the press for another impression. 


POWER PRESS EMBOSSING 


The stamping or embossing from large dies, or from small ones on 
long runs, is done on a power embossing press, of which there are 
several makes; one of the best known being the Modern, which is 


556 COMMERCIAL ENGRAVING AND PRINTING 


FZ—Die Holder 
FY -Counter Plate 
FX—Die 

FW—Ink 
FV—Wiping Paper 
FU-—-Gauge Pins 


Complete press, outline halftone, 150 line, from photograph of retouched photograph. Close-up view from slightly 
retouched photograph on which reference letters were drawn. Legend, line etching from proof of type. 


Fig. 1566. Hand stamping press. 


illustrated in Fig. 1565. These presses ink the die, and wipe the surface, 
as well as make the impression, all at a speed equivalent to that of an 
ordinary printing press, averaging from a few hundred to twelve to 
fifteen hundred per hour, depending upon the size of the die, the 
nature of the stock, etc. 

In making the die ready to be embossed after being placed on the 
press, an impression is taken on heavy cardboard which has been 
built up as a counter-die on the chuck to a thickness to take a good 
strong squeeze when it comes in contact with the die during the im- 
pression. The surplus cardboard is cut away so as to confine the pres- 
sure during the impression to the engraved lines of the die. A sheet of 
rubber cloth is then placed over the counter-die and after the fountain 
is supplied with the necessary ink, the ‘‘wipe” adjusted and the gauge 
pins set, the job is ready to run. It usually requires two persons to 
operate such a press, one to feed the sheets between the die and the 
counter-die as they come together for the impression and the other to 
lay them out on racks for drying after being stamped. Owing to the 
quantity of ink that is on the printed or embossed sheets, several hours 
are required for the drying unless quick drying inks are used. Some 
presses are equipped with automatic feeders. 

The die wiping paper is fed to the wiping mechanism from a roll, 
the paper coming in various widths so that the width used may be 
only about one inch wider than the length of the die it is to wipe. 
This waste of wiping paper and ink and the extra labor necessary for 
the proper drying of the printed sheets will explain why the cost of 
this kind of press work is more than for ordinary job press work. 

No difficulty is experienced on account of ‘‘over-edge’”” when stamp- 
ing a die on a sheet larger than the surface of the die. This is prevented 
by the counter-die and by the fact that after proper makeready, the 
pressure is centered on the part that is to be embossed. 


STEEL PLATE AND DIE ENGRAVING 557 


Stamping in gold or silver bronze is usually stamped with a second 
impression, without adding color, to burnish, or give smoothness and 
gloss to the first impression. 

It is possible to omit certain lines or characters when printing a 
die by simply cutting away the counter-die under the part to be 
omitted. 

The action of the counter-die against the die during the impres- 
sion Causes the ink in the engraved lines to adhere to the card or sheet 
—also forces the paper into these lines, leaving them in a raised or 
embossed effect. 

COLOR PRINTING AND EMBOSSING 


Mluminated monograms or crests are those carrying colors in 
addition to the main color used in stamping the die. In Fig. 1567 is 
shown a die used to emboss a three-letter monogram in three colors, 
gold, green and red. The outline in black indicates the part that is 
to be stamped in gold and represents all the engraving necessary on 
the die. The extra colors, or in the case of the illustration, the green 
and red are painted in by hand, the die first being stamped blank on 
the sheet to locate the parts for the green and red to be painted in 
with water colors by hand, and then the final stamping of the die in 
gold. Work of this nature is, of course, more expensive than straight 
die stamping, the extra charge depending upon the number of letters 
to be hand colored, and the amount of detail in these letters. In the 
event of long runs, the extra colors are frequently printed on a job press 
first and the steel die carrying the main color is run on the die press 
afterwards. 

Frequently a customer may wish a die printed or embossed in two 
colors on some of his stationery, and, to save expense, in only one color 
on the rest. A practical way of handling such an order is to engrave 
the die as though for a one-color job, and then, by manipulating the 
makeready, the job may be run in two colors for a part of the work, 
running the die through for each color, of course, and then using the 
complete die as engraved for one-color work. This plan is not practical 


Square finish halftone, 150 line, no finishing line, made direct from card especially stamped. Reference letters from line 
negative over which halftone negative was printed in making the plate. 


Fig. 1567. Showing stages of stamping three-color monogram. 


558 COMMERCIAL ENGRAVING AND PRINTING 


where the second color is to be run on a considerable number of im- 
pressions and where it is small, such as a monogram, branch office 
address, etc., and the die a large one, as the increase in expense of run- 
ning so large a die to get the small amount of color will more than 
offset the cost of a separate small die for the color. 

With ornamental designs, coats of arms, crests, etc., that are to 
be run in more than one color, it is sometimes necessary to make a die 
for each color, the combined impressions from which will make the 
complete design. These are known as sectional dies. 


COST OF STEEL PLATES, DIES, PRINTING AND EMBOSSING 


The cost of embossing from a steel plate or die is based upon the 
size of the entire top surface of the plate or die (not just on the part of 
the surface that is engraved or is to be printed or embossed), the time 
required for makeready, the number of impressions to be run, the 
size of the card or sheet to be embossed and the color of ink. Most 
of these items are definitely covered in the price lists of engravers. 

A special estimate is usually required to determine the cost of 
engraving a steel plate or die, although some engravers have an estab- 
lished rate per letter or per line for plain lettering, such as required for 
business cards, etc. The size of the plate or die, as well as the size, 
amount and style of lettering must be taken into consideration. 

An extra charge is made where special tints or colors must be 
mixed to match samples or borders on small runs. 

While steel scratches less easily than copper, it rusts quickly and 
therefore plates should be kept clean and dry and after using they 
should be thoroughly cleaned and the engraved surface given a coat 
of wax or varnish to resist moisture. For safe keeping as well as pro- 
tection against damage, steel dies and plates should remain in the 
possession of the engraver; also all commercial dies and plates are 
usually engraved with the understanding that they remain in his 
hands. Under no circumstances should plates or dies be left in the 
atmosphere with uncoated, polished surface exposed. 


PROCESS EMBOSSING 


This is a patented process of printing from type or line engravings 
in relief on ordinary platen or cylinder presses. A special ink is used 
and impressions are made on the stock as in ordinary printing. The 
printed sheets, while the ink is still wet, are sprinkled with a special 
powder and then put through a baking process which causes the 
powder particles to adhere to the printed surfaces and to fuse together 
and give to the characters a raised effect in gloss or dull finish, de- 
pending on the chemicals used. While the result resembles steel die 
embossing or engraved copper plate printing, it is easily distinguish- 
able from genuine steel die embossing and copper plate engraving. 
The lines are not so sharp and clean, the impression, if any, on the 
back of the sheet is a squeeze from the face instead of an emboss from 
the back, there is not the freedom and grace in the general effect and 
the ink often has a tendency to break and peel off. 


“Fig. 1575. 


HE chief superiority of photogravure lies in the fact that 

instead of a screen, a fine dust or grain is used, invisible to 

the naked eye, which can be rendered coarse or fine (compar- 
atively) at will, to suit each particular subject. This grain is deposited 
on the copper itself, so that there is no direct breaking up of the image 
in the photographic part of the process. 

The fine detail in a portrait, the delicate flesh tints and details of 
material, all the soft effects of any original are faithfully reproduced. 
At the same time, the richest tones can be produced on the same plate. 
With the exception of mezzotints and etchings, expensive productions 
created by hand work alone, no other process gives the depth of print- 
ing that can be obtained by photogravure. A halftone, for instance, 
is only surface printing, whereas a photogravure is intaglio—the 
amount of ink that any given part of a plate can hold and transfer to 
the paper is limited only by the depth of the etching. 


SUBJECTS TO WHICH ADAPTED 


Photogravure is admirably adapted to portrait work, calendars, 
Christmas cards, menus, advertising posters of certain kinds, and 
book illustrations. In the finest books, the illustrations will be found 
almost invariably to be photogravures. Statuary, paintings in oil 
and water color, wash drawings, photographs from nature, all keep 
their soft tones and velvety rich blacks in a wonderful way. Mezzo- 
tints and etchings can be reproduced so faithfully that the proof may 
frequently be taken for the original. 


METHOD AND COPY 


The only method of photogravure production commercially 
exploited is that of direct etching on copper through a gelatine mould 
or replica of the original with perchloride of iron. The plate may be 
grown but as this process takes from four to six weeks to reach com- 
pletion, it need not here be considered. 

With the original drawing, model or whatever the article may be, 
forthcoming, the first operation is to make a photographic negative, 
which is the basis for the work, and which should always be bright, 
crisp and snappy and not too dense. This negative preferably should 


*Square halftone, 150 line, no line. Made from a photogravure print on which the lettering had been drawn. The 
white lines around the lettering were cut on the plate. 


560 COMMERCIAL ENGRAVING AND PRINTING 


be larger than the desired size, as any correction of faults that may 
have to be made in the negative will show less in the final results. When 
this negative is dry, all spots are carefully retouched and the high 
lights may be accentuated with a retouching pencil. A reversed posi- 
tive or transparency of the same size as the intended plate, is now 
made, and snappy blacks may be put in with the retouching pencil. 
Often this retouching may be the making of the plate. 

A print is often ill-advisedly furnished to the engraver, when the 
original negative could just as easily be supplied. When the print is 
all that is furnished, the print itself must be photographed to get the 
negative from which the reversed positive is made. This entails the 
disadvantage of the original loss when the print was made, a second 
loss in photographing the print, and a still further loss from the coarse- 
ness of the printed paper if it should have a rough surface which will 
disintegrate and break up the fine detail. With the original negative 
in the engraver’s hands there is practically no loss in the making of 
the positive. In fact, not only can improvements frequently be made, 
but the negative itself, if made by a man who knows the work, has 
the advantage of having been prepared for the specific purpose of 
reproduction in photogravure. 

This matter of not working from a print is of very great import- 
ance and may make all the difference between a beautiful smooth 
reproduction and one that may be marred in many ways. 

When no negative is obtainable—a photographer will perhaps 
refuse to part with a valuable one—the print should be on a smooth 
paper and black. If a brown print is furnished, the subject may be 
marred in photography. Where the tints are light the color will show 
brown and photograph dark and in the deep tones it will show nearly 
black and will photograph as it looks, unless a negative be made with 
the use of a color filter, a needless task and one not always giving satis- 
factory results. 

It may be possible to get the photographer himself to make the 
necessary positive. If so, care should be taken to see that it is reversed 
and slightly larger than the final size to allow for trimming. A contact 
positive will not do as it is not reversed and the final result will be just 
the opposite of the original—right will be left and left, right. 


MAKING THE PLATE 


Special autogravure tissue, gelatine on paper, must now be sensi- 
tized ready for use and meanwhile a piece of copper of the desired size 
must be chemically cleaned and dried and placed in the graining box 
where it receives a coating of very finely powdered resin, dragon’s 
blood or bitumen. This fine powder is burnt in by heat, in other 
words, made to adhere by partial melting. Varying the quantity of 
powder causes the variation in grain necessary to suit various kinds of 
subjects. This grain, the quantity of which can only be judged with 
the aid of a microscope, resists the etching fluid and it is through the 
spaces between the particles of grain that the bare copper is etched. 
These spaces become the minute irregular holes that hold the ink. 


“Sy / @) oA MN A : : dv 
tz old CerlT Qs ud ee (Sey fev e OF CAFVI CECH 2, Le ds QA? apolis * 


Fig. 1576B. A print made by the photogravure process. 


Printed on 22x28—80lb. White Plate Paper. 


PHOTOGRAVURE 561 


Particles of grain and spaces between should be in about even propor- 
tion in the amount of surface covered. 

The positive now has to be lined around outside the work with 
orange or other light-resisting colored paper and printed on the pre- 
viously sensitized tissue. The progress of the printing is barely 
perceptible and the special printing gauge or actinometer has to be 
used. Practice is necessary to get perfection, as this printing can be 
judged only by comparing the density of the positive with the graded 
tints shown in the actinometer. An underprinted mould means loss 
of detail in the deeper blacks and an overprinted mould loss of all 
detail in the high lights. The mould is the grained copper with the 
gelatine image on it ready for etching. 

The grained copper plate is now placed in a vessel of cold water 
with the printed tissue, which when limp is superimposed upon it in 
the required position with the aid of a squeegee, care being taken to 
remove all air bubbles. After resting between blotters for a few min- 
utes, under pressure to assure adhesion, this is placed in hot water. 
Shortly the paper can be removed, leaving the gelatine image on the 
copper. All soluble matter is now washed away and the mould put 
away to dry. 

When dry, (and this is generally the next morning, although 
alcohol may be used for rapid work) the picture must be squared up 
and lined around with an acid-resisting paint or varnish, all space 
outside the lines being also painted over. 

Special wax is now softened and firmly placed in position all around 
the subject matter, to hold the etching fluid, or the back of the plate 
may be painted with an acid resist and the plate itself immersed in 
acid in a dish. 

The actual etching, done with perchloride of iron, is complete in 
about ten to fifteen minutes in most cases. The etching is usually 
done in several baths, first a strong one that etches only the deepest 
shadows, then gradually more dilute baths which etch through the 
thicker portions of the gelatine resist in proportion to their dilution. 
Thus it can be seen that special care is necessary to get just the right 
amount of etching for each tone. After etching, all gelatine and grain 
is removed with hot potash, whiting and water, and the plate is 
thoroughly cleaned and polished. A rough proof must now be taken 
and from this it is easy to see what retouching may be necessary. 
Spots and blemishes are removed and, when the proof has finally been 
O. K’d, the title or imprints are hand-engraved on the plate. 

Copper is used for photogravure plates for several reasons. The 
acid, perchloride of iron, attacks it freely, but it eats through the 
gelatine image gradually without destroying it all at once. The soft- 
ness of the metal is also of great importance as it enables considerable 
retouching to be done to the plate. Almost anything can be done to 
a photogravure plate with various retouching tools—rich blacks put 
in with rocker and roulettes by increasing the depth that the plate 
may retain more ink, and bright lines added where necessary with the 
help of burnishers by smoothing the surface so that it will not retain 


Pages 561 to 568 inclusive are printed on 25x38—80 Ib. Aigrette Ename! Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


562 COMMERCIAL ENGRAVING AND PRINTING 


the ink. In fact, it is often the slight overetching and then the bring- 
ing out of the delicate high lights and rich velvety blacks that is the 
making of a beautiful plate. This is a matter for skilled operators 
and it will always pay to go to a well established concern for this work. 


PLATES ARE STEEL FACED 


Copper being comparatively soft, it is necessary to coat the plates 
with a hard steel face before printing. A copper plate would lose 
all its delicate tones in very short order if printed without this coat- 
ing. Twenty-five impressions would make a perceptible difference in 
quality. This steel is deposited by electricity on the plate by immer- 
sion in a steel facing bath. To receive and hold this deposit cor- 
rectly, the plate must be chemically clean and free from grease. 
Scrubbing with hot potash or lye and whiting and removal of stains 
with weak acid are the methods employed, so that here again, if due 
care is not taken, more wear is occasioned. A thoroughly clean plate, 
properly steel faced, may print as many as ten thousand impressions, 
though this is rare. When the plate shows the least sign of wear, it 
should be recoated, but all the original coat must first be removed. 
From this it can be understood that continual poor steel facing will 
rapidly ruin a plate. The printer should not continue to print after 
he notices that the copper is showing in places, as each impression 
wears away the copper where it shows through. Almost invariably 
this wearing begins in the deepest blacks where the grain is roughest 
and the depth greatest. | 


LIFE OF PLATE AND SPEED IN PRINTING 


The life of the plate depends upon the closeness of the particles of 
grain, the correctness of the etching and the durability of the coating 
or coatings of steel that are given to it before printing. 


Outline-vignette halftone, 150 line. Made from a photograph on which the vignette had been painted. 


Fig. 1577. A photogravure plate. 


The number of impressions that can be obtained in a day from a 
photogravure plate is limited, as the printing is all done by hand. 
Five hundred of an ordinary book illustration is a fair average, while 
twenty-five to fifty prints from a large picture may be all that can be 


PHOTOGRAVURE 563 


Square halftone, 150 line, with special border. Made from a photograph. The border lines were cut on the plate. 


Fig. 1578. Printing photogravure plates. 


produced. The details of the process, and the time required for 
printing must always be taken into consideration when a given number 
of prints is needed by a certain time for some specific purpose. 

The process of printing a photogravure plate is similar to that of 
printing a copper plate. The plate must first be fastened to the bed 
of the press. The ink roller is rolled over the ink and then over the 
plate. Superfluous ink must be removed by hand with special rags 
and finally the plate must be polished with the hand, the damp paper 
superimposed in correct position and the whole passed between the 
rollers of the press. The hand-wiping is of great importance. A heavy 
wipe will remove the ink from the fine detail, in a sky for instance, 
whereas too light a wipe will leave too much ink on the plate and cause 
a smudgy impression. When it is realized that this operation must be 
repeated for each impression, it can be readily understood why a 
greater number cannot be printed ina day. After printing, the paper 
must be dried and pressed. 


PAPER MUST BE DAMP 


The paper on which photogravure plates are to be printed must 
always be damp to obtain the best results. By damp is not meant 
freshly wet, for the sheets are passed through water the night before 
they are needed, in twos or fours or sixes, etc., depending on the quality 
of the paper, and then piled up with a weight at the top so that super- 
fluous water is forced out and the stock becomes uniformly moist by 
the time it is needed for the press. 


564 COMMERCIAL ENGRAVING AND PRINTING 


As has already been shown, the basis of photogravure consists of 
_irregular infinitesimal holes etched in the plate in varying depths, 
according to whether they appear in a light or dark part of the subject. 
When the plate is laid on the bed of the press with the damp paper in 
position and passed between the rollers, the fibres of the paper are 
forced down into these irregular holes and practically every bit of the 
ink is extracted and transferred to the paper. This operation is 
assisted by blankets around the upper roller to relieve the pressure. 

It is, of course, possible to print plates on dry paper, but even with 
specially deep etching, the result cannot compare with that obtained 
when damp paper is used. Hence it can readily be seen that hard 
paper or those highly surfaced, calendered, or coated, are not suitable 
for this process. Plate papers are generally used, the finest results 
being obtained on imported hand made French, Italian or Japanese 
papers. The imported papers are rich in fibres, for the reason that, 
in the case of the French and Italian papers, they are made almost 
entirely of pure rag, and in Japanese vellums of pure vegetable fibre. 

A fair way to test the suitability of any ordinary plate or other 
paper for photogravure is to place a corner in the mouth for an instant. 
The paper should act almost as blotting paper would under like condi- 
tions. The more readily it will absorb moisture, the better it is for 
the purpose. 

COLOR FOR PRINTING—HAND COLORING 


Photogravure plates may be printed in any color and still retain 
the relative value of tones. Many a surface printed plate, such as a 
halftone, when printed in brown, for instance, has a tendency to lose 
its brilliancy, for the reason that the ink even in its darkest part is 
more or less transparent and the surface will hold only a limited 
amount. In the photogravure there is actual depth of color, and no 
matter what the color may be, all relative tones are as much in force 
as if the plate had been printed in black. As the plates are printed by 
hand, little or no trouble is incurred in changing from one color to 
another even on short runs. The plate is cleaned with turpentine, a 
fresh batch of ink and another hand roller are used, and the job is done. 

Impressions from photogravure plates printed in gray or in the 
predominant final color will very readily and easily give the most 
beautiful results when hand tinted. The larger spaces may be covy- 
ered by the use of the air brush and the small delicate bits put in by 
hand. By working one color at a time over a given number of prints 
and then the next color and so on, this work may be done rapidly and 
at comparatively little cost. 

It is well when ordering photogravures that are to be hand colored 
to see that as nearly correct color values as possible are given in the 
finished plate. For instance, there may appear in the subject a red 
huntsman’s coat. This color will photograph dark and when the photo- 
gravure plate is made, the impression from it, even if a gray one, will 
have so much color on that part (the red coat) that the application of 
the red color, however carefully done, will give a dirty result, far from 
the brilliant red that appears in the original. This may be easily 


PHOTOGRAVURE 565 


remedied if the retoucher will lighten such parts as the coat with tools 
until scarcely any color is held by that particular part of the plate. 

This treatment of a plate, especially if brilliant colors are to be 
reproduced, spoils it for ordinary black and white purposes and it is 
not necessary for landscapes and _ similar subjects. However, for 
careful true reproduction in color, it is the only right way to have the 
plate made. 

The results of hand coloring are most pleasing, and for calendars, 
fine illustrations, menus, pictures for framing, Christmas cards and 
many other uses, can scarcely be surpassed. Having the depth and 
the various tones, all that is necessary 1s a plain wash of color. 


PRINTING IN COLORS 


Some art subjects are printed in colors by this process. To satis- 
factorily print a plate in colors the work must be done by an art printer 
who is thoroughly familiar with colors and knows how to apply them 
on the plate. The plate is inked in locally with different colors, in fact 
painted with ink in a manner almost like a painter paints a canvas 
with colors in oil. After the colors have been laid the picture is trans- 
ferred to the paper by making a print from the plate in the usual way 
as though it had been inked for one color. The printing of such sub- 
jects is a very slow process depending upon the intricacy of the design, 
number of colors and size of the subject. Small subjects printed in 
three or four colors often require as much as an hour for making each 
print, while other and larger subjects may require as much as three or 
four, or more, hours for making a single copy. It is an art process 
and when artistically done, it fully justifies the labor expended. 


SUGGESTIONS 


When having any design or drawing made for reproduction in 
photogravure, it should always be carefully stipulated that the paper 
or other material used should be white and of a smooth surface. Any 
irregularity in the texture or surface will invariably photograph and 
interfere with a correct reproduction. It must be remembered that 
a rough paper or board.really consists of a surface having irregular 
heights and these irregular heights each throw their own individual 
shadows, strong enough to break up the image, more or less, when the 
subject produced on such a surface is photographed. 

Photogravure plates usually can be best printed by the firm making 
them and who are familiar with the handling of them. They can not 
be printed by the letterpress printer and, though the same kind of 
presses are used as in printing copper plates, very few copper plate 
printers can successfully print photogravure plates. 

As the description of the process indicates, there could be no fixed 
scale of prices for this class of work, and cost, which is not excessive, 
must be determined on the basis of skill, labor and material required 
for each order. 


CAGESA iG Fae SG ED CAS 
Koa [nore GRAVURE 
WO y 


*Fig. 1585. 
Pres teen ¢ from a copper cylinder on which the design or picture 


has been depressed by etching, is technically known as intaglio 

printing. It is produced under various trade names such as 
‘“Rotagravure,”’ “Rotary Photogravure,” ‘Rotary Gravure,” ‘‘Roto- 
print,’ “Gravure,” ‘“Rotaglyo,” etc. Some of these names are 
registered. The process was originated in England by Karl Klic who 
founded a company for its development in 1895. Calico, silk, wall- 
paper and linoleum manufacturers have made use of practically the 
same process for many years—as far back as 1785 for calico printing. 


ITS USES AND ADVANTAGES 


Its uses are many. The reproduction of any kind of paintings, 
pictures, illustrations for newspaper supplements, pictorial editions, 
inserts for magazines, complete catalogs, advertising posters, theatrical 
advertising, post cards, color work, or any pictorial printed matter that 
is to have a large edition. Not only paintings, wash drawings, photos, 
etc., but line work, pen drawings, and type matter can also be success- 
fully reproduced by the process. As in other photo-mechanical pro- 
cesses, small or delicate type is not as sharp and clear when reproduced 
as when printed from the original type. 

Best results are obtained from soft copies with clear, distinct tones 
in the lights and shadows. Copies that are too flat or too contrasty 
should not be used. 

Although a screen is used in making, it is practically invisible to 
the eye, so that reproductions by this process possess great delicacy 
and softness in the middle tones and high lights, as well as deep richness 
in the shadows. 

A rotary press also admits rapidity in printing and, the process is 
particularly well adapted to illustrated supplements for newspapers 
because of the excellent results to be obtained on inexpensive paper. 
Some of the cheapest kinds of paper are used with good results as are 
also tissue, blotting, glassine, gold and silver paper. 


COPY AND ITS PREPARATION 


Anything that can be reproduced by the photogravure or halftone 
processes may be reproduced by this method. Photographs should 
be as carefully prepared as for fine halftone work. 

Positives are eventually used in this process, instead of negatives. 
However, a photographic negative must be made first, on which 
retouching i is done if necessary. From this negative a positive is made 


*Line etching on zinc. Made from a pen drawing. 


Rotary PHoTtoGRAVURE BO 


which is also retouched if necessary. It is best that the negative be no 
smaller than the reproduction of the subject is to be, and the proper 
size may be obtained by enlarging or reducing when making the 
positive, which, of course, must be of the same size as that in which the 
subject is to print. The negatives may be made on glass, or film, but 
the positives are usually made on celluloid, so that they may be 
trimmed to fit their respective places in the layout. 

Forms are usually made up of several subjects, arranged to conform 
with a dummy prepared in advance, and in a size to cover the entire 
surface of the cylinder that is to be used. 

The principal steps in preparing the cylinder for printing include 
the making of the negatives, and the positives or transparencies, with 
a copying camera; the retouching of the negatives and transparencies: 
mounting down the transparencies in the layout on a glass plate; 
sensitizing and squeegeeing the sheet of carbon tissue on a ferrotype 
plate; drying the tissue on the ferrotype plate in a whirling machine; 
printing the screen and form of transparencies on the carbon tissue in 
a vacuum printing frame; laying the carbon tissue on the cylinder; 
painting out and staging the cylinder and etching the cylinder. 


TYPE MATTER AND LINE WORK 


There would be no advantage in printing type matter or line work 
alone by this process as its particular field is tone or picturization 
work. However, it is nearly always necessary to print titles or explana- 
tory text matter in connection with the illustrations. This class of copy 
must be handled separately, although it is finally combined on the same 
cylinder with the pictures. 

The positives of all type, line work and borders are made either 
photographically from proofs or drawings by the wet plate method as 
for line etchings, or they may be printed direct from the type on thin 
celluloid or thin transparent paper, if set in same size and arrangement 
as that in which it is to be reproduced: these prints being used in the 
same manner as positives in the layout. When type is used, a bold 
face without hair lines is preferable. Bookman, Bodoni, Cheltenham 
and Goudy, usually reproduce well. White letters on a black back- 
ground may be reproduced from a print of black letters on white, by 


. 


® 


o 
S 


SSS 


Line etchings on zinc. Made from sections of prints from line etchings around which the border lines were drawn. 


Fig. 1586. Enlarged section of Fig. 1587. Enlarged section 
rotary photogravure screen of halftone screen. 


568 COMMERCIAL ENGRAVING AND PRINTING 


following the same steps in photography as in making negatives for 
reverse line etchings. 


MAKING THE LAYOUT AND THE RESIST 


The picture positives and those of all type matter, borders, etc., 
are trimmed, assembled and fixed in their respective positions on the 
plate glass following the dummy of the form to be printed. Register 
marks are made on the layout to correspond with similar marks made 
on the copper cylinder, so that the form may be properly placed on the 
cylinder. A sheet of sensitized carbon tissue is placed under the 
screen in a vacuum printing frame and a print of the screen is made on 
the tissue. The layout of transparencies of the pictures is printed 
directly over the print of the screen on the same sheet of tissue, after 
which the tissue is ready for transferring to the cylinder. The screen 
is removed from the printing frame before the transparencies are 
printed, if the same frame is used for printing both. 

It is essential that the different positives to be used on one etching 
have as near the same density as possible, and that they be equally 
clear, so that all pictures will etch alike on the cylinder. Lack of uni- 
formity will cause some to come out too deeply etched, and others not 
deep enough. 

THE SCREEN 


The screen is very similar to that used for making halftones, — 
with the exception that the lines are much thinner; and, since the lines 
are made from a ‘“‘positive,’’ the lines are white and clear, instead of 
black or opaque. The proportion between the clear and opaque lines 
is about one to three, while in the ordinary halftone screen there are 
almost equal amounts of black and white spaces. Screens are placed at 
a 45 degree angle with the vertical of the subject being printed, as in 
making halftones. The screens used are usually 150 or 175 lines to the 
inch. Photographic film or glass copies made from a master screen are 
generally used for convenience and to lessen loss in case of breakage. 
The operation of making these copies is undertaken only by skilled 
men. In size they run approximately 28 x 36 inches. 


THE CYLINDER 


The cylinder on which the etching is made is an iron mandrel on 
which copper has been electrolytically deposited to a depth of 1/16 to 
1/4 of aninch. This kind of copper is especially free from blemishes 
and the cylinder is ground and then very carefully polished with char- 
coal or emery paper to produce an even and perfectly smooth surface, 
but with enough ‘‘tooth” to hold the carbon paper. Before the applica- 
tion of the carbon tissue, all traces of grease as well as any oxidation are 
removed. The cylinders are approximately from 5 to I5 inches in 
diameter and are from 24 to 75 inches in length, the circumferences 
ranging from about 15 to 60 inches. The size of the cylinder governs 
the size of the form that may be etched on it and also the sheet that 
can be printed from it. The average run from a cylinder is about 
175,000 impressions, and through grinding down and repolishing one 
cylinder is good for 25 or 30 runs before it is necessary to redeposit 
additional copper. 


“HECHT CO,, Ind 


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lanapo 


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Fig, 4589B. The subject tipped on the other side o 
BeAr | printed by the Rotaglyo process on 25x38—100 C 
ae ____- This sheet is 25x38—70, Champion Eggshell Book 


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Rotary PHOTOGRAVURE 569 


MOUNTING THE RESIST 


The copper cylinder is placed on a special iron truck with a pan of 
water directly underneath it. The exposed carbon tissue is put into the 
water and allowed to soak until it will unroll easily, or it is placed dry 
in position and water is sprayed under it while being pressed down 
firmly on the cylinder with a squeegee roller. Care is taken that the 
register marks on the carbon tissue taken from the layout correspond 
with those on the cylinder. Now the cylinder with the resist is rotated 
in hot water until the paper backing of the tissue is loosened suffi- 
ciently, when it is peeled off leaving the gelatine on the cylinder. The 
transferred film or resist is then developed, after which it is cooled and 
dried in a room free from variations in temperature or moisture. 


STAGING AND ETCHING THE CYLINDER 


The edges and all margins of the pictures are now ruled and painted 
out with asphalt varnish, likewise all other surfaces of the cylinder that 
are not to print, and all blemishes, holes and light spots are retouched, 
and after the etching is done are tooled out to match the screen. 
Otherwise, the etching acid will affect all exposed parts, and any inden- 
tation—be it ever so slight—on the surface of the cylinder will fill with 
ink when printing and cause dark spots or streaks. 

The cylinder is placed over and within the etching trough, sup- 
ported on projecting core ends which rest in grooves ina frame. The 
operator revolves the cylinder slowly, the etching fluid being poured or 
rubbed on the cylinder, and the progress of the etching being judged to 
a certain extent by the discoloration of the copper and the experience 
of the etcher. 

The gelatin coating of the carbon tissue acts as a resist to the per- 
chloride of iron, which is used as the etching medium. The etching ts 
controlled by the time required to penetrate the resist in the high 
lights and produce a darkish color all over the carbon tissue. 

In printing the screen and the transparencies on the carbon tissue, 
the solubility of the gelatine is affected in proportion to the amount of 
light reaching it. More light is admitted through the high lights, thus 
making the gelatine firmer and less soluble in these parts; while the 
deeper the shadows, the less light admitted, and the more soluble the 
gelatine. As a result, when the resist is fixed on the cylinder, the 
gelatine coating is left thickest over the high lights, less thick in the 
intermediate tones and thinnest over the deepest tones. The gelatine 
immediately beneath the screen lines in the print remains undissolved 
and prevents the etching of the cylinder underneath, thus forming the 
walls of the cavities or cups on the cylinder which carry the ink when 
printing; these cups being deepest in the shadows and shallowest in 
the high lights after the etching is completed. 

The etching fluid penetrates the resist and bites the metal in vary- 
ing depths, corresponding to the proportionate thicknesses of the 
undissolved gelatin. After the etching is completed, which usually 
takes about twenty minutes to half an hour, the cylinder is cleaned 


Pages 569 to 576, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


570 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 150 line, no line. Made from a photograph. 


Fig. 1591B. Webendorfer Rotary Gravure web press for 
printing newspaper supplements. 


with hot water and acetic acid. Little can be done in the way of 
correction, but light spots may be removed and dark spots filled in to 
a certain extent. 

The pictures are etched first on the cylinder, the type matter being 
painted over with asphaltum, which, after the pictures are etched, is 
cleaned off the cylinder with turpentine, the etched pictures being 
painted over with asphaltum before beginning the operation of etching 
the type. 


STEAM DRYING DRUM 


PRESSURE 
IMPRESSION 


RU BBER IMPRESSION ROLLER 


\ 
\ ETCHED COPPER CYLINDER 


ETCHED COPPER CYLINDER % 
DOCTOR BLADE_, 


is lj 
_~ DOCTOR BLADE PAPER ROLL aS a Se 
\ INK PAN\_ ~~ _)7 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1592B. Diagrammatic view of Webendorfor Rotary Gravure 
press showing paper travel. 


Rotary PHOTOGRAVURE o7t1 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 
Fig. 1593B. Watson sheet fed Gravure press. 


PRINTING 


The press on which the cylinders are printed is the most expensive 
part of the equipment for the process, and is rather elaborate, although 
the principle is simple. There are two types in general use, the web 
rotary—printing from 4,000 to 10,000 copies an hour, and the sheet 
fed rotary—printing up to 3,500 an hour. 

In the web rotary, the paper is fed to the press from the roll and 
following the printing is cut automatically and folded to the proper 
size, or delivered in flat sheets. The paper passes at high speed between 


ED BOARD 
GRIPPERS ae 


+ 
IMPRESSION 
CYLINDER 


GRIPPERS 


STRIPPER 
CYLINDER 


ENGRAVED 
CYLINDER ee a eee 


Sa SS SS | ————_—— sss 
SSS 

DELIVERY TRAYS ——————————————————> 

——— 

FOUNTAIN AND ROLL es Qe 
peer ————— SS 


pecron TRAY STRIPPER 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1594B. Diagrammatic view of Watson 
sheet fed Gravure press. 


STD COMMERCIAL ENGRAVING AND PRINTING 


the etched cylinder and the impression roller, which is covered with 
vulcanized rubber. 

In the sheet-fed rotary, which is used mostly for commercial work, 
there is an impression cylinder with a gripping device for holding the 
sheets in position. This admits of printing sheets of various sizes with- 
out change in the diameter of the printing cylinder. 

No makeready is necessary, in the sense in which the word is used 
in letterpress printing. But little time is required to start the run 
after the etching of the cylinder has been completed and the cylinder 
placed on the press. 

The ink used differs from that for letterpress printing in being much 
thinner and of a less stringy nature. As the engraved cylinder revolves, 
the lower surface passes through a trough of ink underneath, and as it 
turns, the surplus ink is wiped off by means of a steel blade known as 
the ‘doctor’? which runs the full width of the cylinder, so that when 
the cylinder comes into contact with the paper, its surface is free from 
ink except in the cavities. 

The ‘doctor’ is a thin flexible blade of steel, which is drawn 
horizontally across the etched cylinder. It also has an oscillating move- 
ment to obviate the possibility of streaking in any way. 

The “doctor” not only wipes the ink off the etched part of the cyl- 
inder (leaving the cavities full), but entirely removes it from the plain 
surfaces where the plate is not etched, thus leaving clean margins on 
the printed sheets. 

The etching is protected by the network of cross lines produced by 
the screen, and wearing or scratching of the copper surface is mini- 
mized by the ink, which forms a thin protective film, so that many 
thousands of copies can be run before there is any appreciable wear 
on the cylinder. 

The paper, usually printed dry, passes between the etched surface 
and the impression cylinder and takes up the ink that has been retained 
in the little cavities or cups. Because of the varying depths of these 
cups, the ink lies thinner or thicker in differing degrees in the high 
lights and shadows on the printed sheet. 

Softness and elasticity in the surface of the paper are necessary 
for good soft, rich prints. Even blotting paper gives good results, 
although the paper should not be too soft or absorbent. The strongly 
sized book papers are too hard. For the finest art reproductions, plate 
paper, free from sizing, is used. Enamel coated papers cannot be used 
as the thin ink affects the coating, causing a smudge. Nor can bond 
papers be successfully printed by this method because of their inability 
to take the ink properly. 

As it is not practical to make corrections or do much retouching 
on the engraved cylinders, the copy should be retouched before the 
negative is made. In the case of imperfect negatives or positives, they 
must be retouched and corrected by the aid of the air brush or retouch- 
ing pencil. The latter is used to increase the value of the shadows and 
an etching knife is used to take out high lights when necessary. 

The presses for printing newspaper supplements have steam 
cylinders to hasten the drying of the ink as the printed sheet passes 
over them. They print from the roll of paper, on both sides of the sheet 


Rotary PuHoroGravurRE DiLo 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. 


Fig. 1596. A rotary photogravure cylinder on a Wesel 
combination lathe and grinder for re-surfacing. 


and have attachments for cutting the paper into sheets, and folding 
facilities for delivering the job complete. On such a press each side of 
the sheet is printed from a different cylinder, and we might say on a 
separate unit, thus one side may be printed with one color of ink and 
the other with another. 

It is impractical to print a small edition of a single subject on the 
large rotary presses. Therefore, a number of subjects are frequently 
made up together to make a form suitable for the cylinder, when the 
same number of copies are required of each and the same kind of paper 
is to be used for all. These may be from subjects submitted by different 
concerns, used for totally different purposes, or they may be duplicates 
of the same subject, assembled in the positions in which they are to 
appear on the printed sheet. 

It is possible to print back and front of a sheet from one cylinder 
by running the paper over one-half of it and back again over the other 
half of the cylinder. 

In rotary photogravure printed in colors, it is, of course, necessary 
to have a separate cylinder for each color. 

A sheet-fed gravure press is shown in Fig. 1593B. This machine 
will print a sheet up to 25 x 38 inches in size at a speed of 2,000 im- 
pressions an hour if hand fed, or approximately 3,500 an hour with an 
automatic feeder. It is suitable for high grade monotone and color 
work as it is capable of holding exact registration for subjects in color. 
The sheets are delivered flat, printed side up. Delivery is a special 
magazine type holding ten trays. The tray travels to the top of the 
magazine and proceeds to the bottom as the sheets from the bottom 
trays are stripped off to the piler, which allows a drying time before 
delivery of ten sheets. 

Prices on engraving and printing by this method are given on the 
work complete, the cost of the engraving not being given separately; 
and, as the cylinder is usually re-ground, polished and made ready for 
re-etching after the completion of a run, an additional charge is made 
if the engraved cylinder is held for subsequent runs. 


*Fig. 1600. 


ferent kinds of printing; from raised surfaces, or letterpress 

printing; from flat surfaces, or lithographic printing; and from 
depressed lines, or intaglio engraving. There are many kinds of ink in 
each of these main divisions, manufactured with a view to their use on 
some particular kind of paper, or in connection with some special 
printing device. 

Among the different kinds are inks for one color or monotone work, 
duotone or two color work, halftone and process halftone inks; litho- 
graphic ink for stone and metal plates, and for offset presses; inks for 
bond papers and for glazed papers; opaque inks for dark cover papers; 
inks for butter wrappers; the alkali proof or soap wrapper inks; alco- 
hol and ether proof inks for pharmaceutical labels, permanent non- 
fading inks; the safety inks used for printing checks, etc.; stamping 
inks; copying inks; bookbinders’ inks; inks for printing on wood, 
metal, glass, celluloid, cloth, leather and rubber; and many others, 
and all of these in various colors, shades and tones. 

Primarily, the two materials used in the making of printing ink 
are pigment (colors) and the medium, or varnish, in which these are 
ground. The varnishes which carry the pigment and cause it to ad- 
here to the paper are of two general classes; one of which dries through 
oxidation, while in the other the moisture is mostly absorbed by the 
stock upon which it is printed. Linseed oil is the most familiar repre- 
sentative of the first class and rosin oil of the second. Other ingredi- 
ents used are gums and waxes, which give greater consistency; vege- 
table oils and fats, in lithographic inks; and various lead and manga- 
nese compounds as driers. 

The oils are boiled, the pigment or color is added, and the combina- 
tion ground to the fineness desired. The cheaper the ink the less the 
grinding. Different manufacturers have different processes and 
methods, some of them secret. As an example of how complicated a 
process the manufacture of printing inks may be, there is a simple 
red ink on the market—containing one dry color, the necessary var- 
nishes and a drier—which is composed of 23 substances and repre- 
sents 33 processes from raw material to finished product. In inks con- 
taining two dry colors, the number of ingredients and processes are 
increased. The choice of materials and the proper mixing require 
scientific knowledge, and the ink mills employ chemists, who are pre- 


Prterene in ink is manufactured with a view to its use in three dif- 


*Combination double print flat tone halftone, 133 line, and line etching on copper. Made from two pen drawings. 


INKS AND THE Harmony or Coors wey 


pared to cope with almost any problem that may be presented to them. 
Almost any requirements of the printer can be met and an ink fur- 
nished which can generally be depended upon to accomplish the pur- 
pose for which it is desired. One day an ink man may be called upon 
to formulate an ink for some new and complicated printing machine; 
and the next, to supply a product to be printed upon documents for 
deposit in the corner stone of a public building, and which he is pre- 
pared to guarantee will remain legible and unchanged for a hundred 
years or more. 

Among the qualities that a printing ink must possess are a Capa- 
bility for distributing evenly, drying with just the properslowness with- 
out leaving oil on the surface, and durability of color. While every ink 
manufacturer has his own standard line of colors and varieties, they all 
find it necessary to do more or less special mixing and grinding to meet 
new problems which may arise; as well as to satisfy customers who 
have their own ideas as to their ink requirements. 


SOME INKS ARE AFFECTED BY PLATES AND VICE VERSA 


The chemicals used in some of the colored inks affect the metal in 
plates made of zinc and copper, but plates of aluminum and nickel are 
not affected. For instance, take a light tint that is to be used as a 
border and endeavor to print it with a zinc plate, and the tint will 
be discolored. 

Doubletone ink which is printed with one impression is used to 
produce a two tone color effect. This is not intended to reproduce a 
subject in natural colors, but is used for a soft artistic effect. This ink 
is made in various colors and is especially adapted to the printing of 
views in which sharp detail is not essential on dull finish enameled 
papers, the permanent two-tone effect developing as the ink dries on 
the sheet. 


COLOR 


Color is defined as the property of light which causes bodies to have 
different appearances to the eye. And on the appearance given the 
eye by color depends its attractiveness or unattractiveness, as far as 
the sense of sight is concerned. No two persons see color exactly alike, 
and some are unable to distinguish between certain of the colors, more 
frequently red and green. 

The term tone is properly applied to any variation in color, in- 
cluding black, white and gray, and should be used in this connection 
instead of shade. 

A shade of color is any tone tending from the normal towards 
shadow; a tint is any tone in which the normal color is increasing in 
light or whiteness. Hue, properly speaking, is a color itself; that 
property which distinguishes a red from a green, a yellow from a 
purple, etc. 

The term neutral is applied to tones which are without apparent 
color, such as black, white and gray. Generally speaking, black ab- 
sorbs all colors, white reflects all colors,.and this is one of the reasons 
why white forms the strongest background from a color standpoint. 


576 COMMERCIAL ENGRAVING AND PRINTING 


Color is one of the greatest attention getters known to advertising 
and its use is constantly increasing. Almost any piece of printing, 
from a letterhead to a catalog, from a window card to an outdoor poster, 
is made more impressive by the use of color. 

An extra color will cost more, for it means more expense for com- 
position, lock-up, electrotype plates and press work, and more money 
for engravings, when illustrations in two or more colors are used. 
But the improvement in appearance and pulling power will more than 
compensate for the added expense. 

Remarkable results can be achieved by the use of only one addi- 
tional color. Manufacturers make use of tint blocks to show up their 
goods in a more attractive manner against a colored background. 
Special parts are printed in some distinguishable color to explain opera- 
tion, or to call attention to some special feature, the extra color being 
often used jointly to emphasize display lines, decorative features, etc. 

The use of natural colors enables the mind to grasp the actual ap- 
pearance of the article advertised without having to resort to imagina- 
tion. To think of an object as green does not make the impression on 
the mind that seeing the article in green does. Merely for the value it 
has as an attention attracting power, color work is well worth while. 

The colors to which the average man or woman are most sensitive 
are red, green and black. Black on a white background is more 
effective than white on a black background. Some strong colors will 
attract attention but they will not hold it. Too many colors simply 
confuse the eye and too bright colors produce a sense of shock. The 
best result is obtained by the use of one definite color scheme, but with 
the lower tones predominating. The object to which attention is to be 
directed should be printed in a strong color, the background in a tint. 
The custom is to print the illustration in a dense black, and the 
remainder of the page in gray (type in black) or brown, which causes the 
illustration to stand out from the page. The prevailing tone in a color 
illustration should be matched by the background, or by a surrounding 
border, or by both, if used. 

From an art standpoint, yellow and yellow-red symbolize light and 
gaiety; yellow is the most luminous of colors and the best for lighting 
up shadows and dark spots. Red speaks of heat and energy; it is the 
most aggressive of all the colors. Blue is almost the opposite of red; 
it suggests thoughts of cold and snow; it soothes and constrains. Steel 
gray is symbolic of weight and solidity; purple of pomp and power; 
black of sobriety and mourning; brown of bitterness; green of life and 
growth, and in certain shades, of envy and jealousy; gold of prosperity, 
etc. Blue, purple and green are known as cold colors, while red, yellow 
and yellow-red are known as warm colors. The tints are warmer, the 
shades colder than the normal tones; red becomes warmer as it tends 
toward yellow-red; colder as it deepens into purple. In the use of 
contrasting colors a warm color should be contrasted with a cold color. 

Uniformity of color tone adds much to the artistic effectiveness of 
printed matter. There is sometimes a difference of opinion in the use 
of color, between the artist printer and the practical customer, or vice 
versa. The artistic printer would use blue ink on blue stock, brown ink 
on light brown stock, etc.; while the customer is looking for contrast— 


INKS AND THE HARMONY or COLORS EL 


LLOW 
ad 1B 
CHROME GREEN 
YELLOW YELLOW 
1617B 1624B 


YELLOW- GREEN 
RED 1625B 
1618B 

LIGHT BLUE- 
RED GREEN 
1619B 1626B 


1611B—1612B—1613B 


IDEAL FOUR 
PROCESS COLOR 
RED BLUE 
1612B 1614B 
Fig. 1610B. 
PURPLE THREE-COLOR 
1621B BLUE 
PURPLE-BLUE 1613B 
1622B 
Full F ull 34 I 9 14 
Fie. 16118. Yellow. Fig. 1614B. Four Color Blue. 


Full 34 3 
Fig. 1612B. Ideal Process Red. 


Fig. 1613B. Three Color Blue. Fig. 1615B. Black. 


Pages 577 to 584 inclusive are printed on 25x38—80 lb. Aigrette Enamel Coated Book 
Coated Paper Co., Hamilton, Ohio. ly 
The inks used were made by Philip Ruxton, Ine., New York and Chicago. 


, made by the Champion 


578 COMMERCIAL ENGRAVING AND PRINTING 


Full 34 % Y% Full 34 4% \% 
Fig. 1611B. Yellow. 


Full 34 % A Full 34 “4 A 
Fig. 1617B. Chrome Yellow. 1625B. Green. 


Full 84 ve YG Full 34 % Yq 
Fig. 1618B. Yellow Red. 


Full 34 % A Full 34 4% % 
Fig. 1619B. Light Red Fig. 1627B. Light Brown. 


: 


Full 34 \% A Full 34 % yy 


Fig. 1620B. Red Purple Fig. 1628B. Medium Brown. 


Full 34 % A Full 34 % 4 
Fig. 1621B. Purple. 


Full 34 % A Full 34 % yy 
Fig. 1622B. Purple Blue. Fig. 1630B. Gray. 


INKS AND THE HARMONY OF COLORS 579 


1611B 1612B 


Fig. 1631B. 


16115 161 


Fig. 1635B. 


8B 


1611B 1622B 


Fig. 1639B. 


1611B 162 


Fig. 1643B. 


7B 


1612B 161 


Fig. 1647B. 


3B 


1612B 1618B 


Fig. 1651B. 


1611B 1613B 
Fig. 1632B. 


1611B 1619B 
Fig. 1636B. 


1611B 1624B 
Fig. 1640B. 


1611B 1628B 
Fig. 1644B. 


1612B 1614B 
Fig. 1648B. 


1612B 1619B 
Fig. 1652B. 


1611B 1614B 
Fig. 1633B. 


e 


1611B 1620B 
Fig. 1637B. 


1611B " 1625 
Fig. 1641B. 


o 


1611B 1629B 


B 


Fig. 1645B. 


1612B , 1615B 


Fig. 1649B. 


1612B 1620B 
Fig. 1653B. 


1611B 1615B 
Fig. 1634B. 


1611B 1621B 
Fig. 1638B. 


1611B 1626B 
Fig. 1642B. 
1611B ~ 1630B 


Fig. 1646B. 


1612B 1617B 
Fig. 1650B. 


1612B 1621B 
Fig. 1654B. 


580 COMMERCIAL ENGRAVING 


3 


1612B 1626B 
Fig. 1657B. 


1625B 


Fig. 1655B. Fig. 1656B. 


1612B 1630B 
Fig. 1661B. 


“RD 
iD 


Fig. 1664B. 


1613B 1622B 1613B 1624B 1613B 1625B 
Fig. 1667B. Fig. 1668B. Fig. 1669B. 
1613B 1628B 1613 1629B 


Fig. 1672B. 


a 1673B. 


1614B 1618B 
Fig. 1677B. 


AND PRINTING 


161 2B 


Fig. 1658B. 


1613B 


1614B 
Fig. 1662B. 


* 


16138B 1619B 
Fig. 1666B. 


1613B 1626B 
Fig. 1670B. 


613B 1630B 
Fig. 1674B. 


> o 


se 1619B 
. 1678B. 


INKS AND THE HARMONY oF COLORS 581 


1614B 1620B 
Fig. 1679B. 


1614B ” 1625B 
Fig. 1683B. 


1614B 1629B 
Fig. 1687B. 


1615B 1619B 
Fig. 1691B. 


L 


1615B 1624B 


Fig. 1695B. 


1615B 1628B 
Fig. 1699B. 


1614 1621B 


B 
Fig. 1680B. 


1614B —*«<2‘G GTB 


Fig. 1684B. 


1614B ~ 1630B 
Fig. 1688B. 


1615B 1620B 
Fig. 1692B. 


1615B 1625B 
Fig. 1696B. 


1615B 1629B 
Fig. 1700B. 


1614B 1622B 
Fig. 1681B. 


1614B 1627B 
Fig. 1685B. 


~ 


Fig. 1686B. 


1615B 1617B 1615B 1618B 
Fig. 1689B. Fig. 1690B. 


1615B 1622B 


Fig. 1694B. 


Fi 


g. 1693B. 


1615B 1626B 
Fig. 1697B. 


1615B 1627B 
Fig. 1698B. 


1615B 1630B 1617B , 1618B 


Fig. 1701B. Fig. 1702B. 


582 COMMERCIAL ENGRAVING AND PRINTING 


o 


1617B 1619B 16178-16208 1617B 


x 
~~ 


1621B 1617B 1622B 
Fig. 1703B. Fig. 1704B. Fig. 1705B. Fig. 1706B. 
1617B 1624B 161789 = "1625 B 1617B 1626B 1617B 1627B 
Fig. 1707B. Fig. 1708B. Fig. 1709B. Fig. 1710B. 


16178  —«:1628B 1617B 1629B 1618B 1620B 1618B 1621B 
Fig. 1711B. Fig. 1712B. Fig. 1713B. Fig. 1714B. 


1618B 1622B 1618B 1624B 1618B 1626B 
Fig. 1715B. Fig. 1716B. Fig. 1717B. Fig. 1718B. 

1618B 1627B 1618B 1628B 1618B 1629B 1618B 1680B 
Fig. 1719B. Fig. 1720B. Fig. 1721B. Fig. 1722B. 

. r y 

1619B 1620B 1619B 1621B 1619B 1622B 16198  ~=—«:1624B 


Fig. 1723B. Fig. 1724B. Fig. 1725B. Fig. 1726B. 


S 


16198  —‘:1625B 
Fig. 1727B. 


1619B 1629B 
Fig. 1731B. 


1620B 1626B 
Fig. 1735B. 


> 
p 
| 


i 


| 


16208 —«:1630B 
Fig. 1739B. 


1621B 1627B 
Fig. 1743B. 


1622B 1624B 
Fig. 1747B. 


1619B 1626B 
Fig. 1728B. 


1619B 1630B 
Fig. 1732B. 


1620B  —«:1627B 
Fig. 1736B. 


1621B 1624B 


Fig. 1740B. 


16218 —«1628B 
Fig. 1744B. 


1622B 1625B 
Fig. 1748B. 


tl 
1619B 1627B 


Fig. 1729B. 


end 
¥ 


1620B 1624B 


Fig. 1733B. 


1620B 1628B 


Fig. 1737B. 


1621B 1625B 
Fig. 1741B. 


1621B 1629B 
Fig. 1745B. 


1622B 1626B 
Fig. 1749B. 


INKS AND THE HARMONY OF COLORS 583 


S 


16198  1628B 


A 


pe 
1620B 1625B 
Fig. 1734B. 


1620B 1629B 


Fig. 1738B. 


1621B 1626B 
Fig. 1742B. 


1621B 1630B 


Fig. 1746B. 


1622B > ~ 1627B 
Fig. 1750B. 


584 COMMERCIAL ENGRAVING AND PRINTING 


1622B 1628B 
Fig. 1751B. 


Fig. 1752B. 


od 2 


1624B 1626B 1624B 1627B 
Fig. 1755B. Fig. 1756B. 


oe 


1624B —-:1630B 1625B 1626B 
Fig. 1759B. 


2a 


Fig. 1760B. 


1625B 1629B 1625B 1630B 
Fig. 1763B. Fig. 1764B. 


1626B 1629B 1626B 1630B 


Fig. 1767B. Fig. 1768B. 


* 


1627B 1630B 
Fig. 1771B. 


1628B 1629B 
Fig. 1772B. 


1622B 1630B 


Fig. 1753B. 


1624B 1628B 
Fig. 1757B. 


1625B 1627B 
Fig. 1761B. 


1626B 1627B 
Fig. 1765B. 


1627B 1628B 
Fig. 1769B. 


1628B 1630B 
Fig. 1773B. 


1624B 1625B 
Fig. 1754B. 


1624B 1629B 
Fig. 1758B. 


1625B 1628B 
Fig. 1762B. 


1626B 1628B 
Fig. 1766B. 


1627B 1629B 
Fig. 1770B. 


1629B 1630B 
Fig. 1774B. 


280 


something that will “stand out” and be easily read. A plan with color, 
which is good from the standpoint of both art and utility is to have all 
reading matter in the darker color, and subdue the tone of the decora- 
tion or border, to lessen the contrast between the color of the stock and 
the color of the ink used in printing the text. 

In choosing the colors for a booklet, or other advertising matter, it 
is well to take into consideration the probable color preference of the 
class it is desired to reach. Tones that appeal strongly to youth will 
leave maturity unaffected; there is also much difference in the color 
preferences of the sexes; bright colors are more attractive to women 
than to men. There are national color preferences and racial color 
preferences. The various peoples seem to be influenced by the nature 
of their surroundings, the atmosphere, climate, vegetation, etc. The 
Italians, as a race, are fond of the warm colors and the bright hues, 
which correspond with the sunshine and brilliant tones of their native 
land. In England, the land of fog and mist, dull, drab colors prevail. 
The Indian likes red of almost the same hue as his skin; the black and 
brown races from equatorial regions love the gorgeous colors of the 
tropics. 

Some color combinations which are good from an artistic stand- 
point and which will result in artistic and attractive printed matter are 
as follows: 

COLOR OF PAPER 


INKS AND THE HArRMony or COLORS 


COLOR OF INKS 


Black Dark red, gold and white, light blue and 
silver. 

Light Blue Purple, dark blue, light yellow and 
yellow brown. 

Dark Blue Light blue and white, green and yellow- 


red, dark red and gold. 


Light brown 


Dark brown 
Light green 


Green, gray and lilac, dark brown and 
silver. 

Light drab, yellow-red, black and white. 

Gold, dark brown, yellow-red, dark 


green. 


Dark green Gold and white, black and light green. 

Light gray Dark blue and gold, dark gray and red. 

Light red Rich green, blue and white, olive-brown 
and gold. 

Dark red Dark green, yellow-red and dark blue, 


white and gold. 
Red, light blue. 


Light yellow 
Emerald green, navy blue, crimson red. 


White 


Some color combinations that are offensive to the artist’s eye and 
tend to create a disagreeable sensation in the mind of most observers 
are red or yellow-red with violet; yellow-red with blue-green; yellow- 
red with purple; chrome-yellow with green; yellow with green; greenish 
yellow with turquoise; yellowish-green with blue green; normal green 
or blue green with turquoise. 

Three color combinations that are considered strong are red, yellow 
and blue; yellow-red, green and purple; green-yellow, purple and 
purple-blue. 


Pages 585 to 592, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


986 COMMERCIAL ENGRAVING AND PRINTING 


While the process colors, red, yellow and blue, harmonize with 
each other, more pleasing results are obtained when these colors are 
combined to form different tones. A black page increases in interest 
with a touch of red, preferably vermilion. The colder colors should 
always form the predominating tone. Backgrounds of bright red and 
bright yellow do not admit of the use of any color in printing excepting 
black, if harmonious results are wanted. 

In the use of contrasting colors they should be of the same shade or 
tint in order to give a pleasing appearance. A deep red should not be 
used with a light blue, nor should a heavy black border be used with 
headlines set in light face type, as the body of the text will form suffi- 
cient contrast. However, to call especial attention to some particular 
feature, the color may be intensified in that part. 

Yellow and purple-blue, three-color blue and chrome yellow, light 
red and blue-green are said to be complementary colors because they 
balance each other. Complementary colors make strong contrasts as 
compared to analogous or similar colors. 

Any small object imprinted in color on a large background of a 
different color will be given a different color tone by simultaneous 
contrast. 


TRANSPARENT AND OPAQUE INKS 


Most of the colored inks used in job printing are semi-transparent 
or transparent, excepting those especially made for use on colored 
stocks, such as covers, and these are opaque. The difference between 
transparent and opaque inks is not noticeable on the ordinary printed 
page, unless the tone or shade of the ink is affected by the color of 
the paper, or unless one color has been used in over-printing another. 
When a color used for over-printing does not conceal or modify the 
one printed underneath, it is known as a transparent color, or if it 
modifies but does not conceal the underlying color, it is semi-trans- 
parent; while if it completely conceals the underlying color, it is an 
opaque ink. Thus, when a tint is printed to appear as underneath 
another color, it is necessary to print the tint first, if the tint is an opaque 
ink, although it may be printed last if it is transparent. The trans- 
parency or opaqueness of an ink is governed by the base used in com- 
pounding it, which may be changed to conform with. the requirements 
of the ink, and any color may be obtained in an opaque if so specified 
when ordering. 


THREE AND FOUR COLOR PROCESS INKS 


In commercial color process printing three colors in pigments that 
cannot be produced by mixing are used, from which other colors may 
be produced. These are yellow, red and blue, and they are known as 
three-color inks. The tones and shades of each of these vary greatly 
in printing inks as made by different manufacturers, because of the 
different formulas used. 

When any two of the process colors are mixed, regardless of the 
proportion of each color used, the combination is known as a mixed 
color. This includes the various shades and tones of vellow-red, green 
and purple. 


Se a iis Rotates 


INKS AND THE Harmony or CoLors 587 


When all three of the process colors are mixed together, a subdued 
color is produced. A predominance of any one, or two of the process 
colors in the mixture, will of course make a color in which one is or both 
are noticeable. Thus we may get a yellowish, greenish, bluish, or other 
kind of softened color, as these or other colors dominate the mixture. 

When any two of the mixed colors are lapped by a third color there 
is produced a greyed or subdued color. As two process colors are 
present in green, yellow-red or purple, the adding of a third color 
means the presence of all three process colors in this color. The re-: 
sultant color, therefore, is a grayed, softened or neutralized color. 

Although white, gray and black are generally spoken of as colors, 
correctly speaking, they are not, but they play a very important part 
in mixing to obtain shades or tones that cannot be produced by mixing 
the primary colors alone. White and black are the pigments repre- 
senting light and dark, and gray is a combination of both. Adding one 
of these to a normal color, a value or shade of the normal color is 
obtained. 

HARMONY OF COLORS 


In considering harmonies of colors, it is important to observe the 
practice of nature in this respect. The effect of color in nature is almost 
invariably soft, quiet and gray. The use of brilliant colors is severely 
limited, either as to relative area or duration of time, or both. The 
brilliant flowers, birds and butterflies are only gorgeous accents in a 
large area of neutral harmonious tones. The brilliant stretch of scarlet 
sunset, vast in extent, lasts only a few minutes. Powerful colors must 
be dominated by large areas of quieter tones. The exceptions to this 
rule are few. 

In considering colors as to their possible harmonies, it is helpful 
to arrange them around a circle, asin Fig. 1610B. It will be noticed that 
the process colors, yellow, red and blue, are equidistant around the 
circumference. Their combinations, green, purple-blue and yellow-red 
are midway between the process colors from which they originate. 
On either side of these colors, are colors in which one of the three colors 
predominates, as chrome-yellow, green-yellow, etc. In the center of 
the circle is a segment, indicating the color resulting from a mixture of 
all three of the process colors. 

Harmonies of colors may be classed as (1) complementary, (2) 
analagous, (3) balanced, (4) self-toned, and (5) dominant. The first 
three can be more easily understood by reference to the circle of colors 
in Fig. r610B, and by using the loose masks in which openings have 
been cut as illustrated in Fig. 1794, which when placed over the circle, 
in register in any position, will reveal only the colors of a harmony 
desired. The last two named classes are self-explanatory. 

It is important to remember, in choosing the colors called for by 
any harmony that any number of tints or shades of such colors may be 
used, as well as black, white, or neutral grays. The number of tones 
at one’s command, therefore, are always large. 

A complementary harmony consists of two colors which lie directly 
opposite each other and at either end of any diameter in the color 
circle. 


588 COMMERCIAL ENGRAVING AND PRINTING 


Used pure, complementary colors present the most striking and 
violent contrast. With softened tones, the results are more agreeable. 
Mixed together, complementary colors produce a neutralized color. 

An analagous harmony is one in which only colors bearing a simi- 
larity or analogy to each other are used. Thus any two, three or four 
colors as they appear in succession on the circle of colors are analagous. 

Harmony by balance is produced by using three colors at the ends 
of the three balanced arms of the color circle, such arms or spokes of 
the color wheel forming a Y. If a fourth color is desired, one midway 
between the ends of the Y is selected. 

A self-toned harmony is gained by the use of various tints or shades 
of one color. 

A dominant harmony indicates the presence of one dominant color 
in all the tones employed. One may choose at random any colors, and 


LSM 


Square outline halftones, 150 line. Made from wash drawings. 


Complementary. Analagous. | Balanced. 


Fig. 1794. Masks for obtaining color harmonies from 
the circle of colors in Fig. 1610B. 


into each of these mix a chosen color. Such mixing will at once bring 
about a harmony, the sucess of which will vary with the colors chosen. 

Black, white, grays, gold and silver, in general, may be said to 
harmonize with most colors. 

In the use of any of the foregoing harmonies, one is free to employ 
the colors, brilliant or dull, their tints or their shades. The number 
of colors in the color circle may be increased to show any desired 
number, so long as the three process colors remain equidistant, and 
the same number of graduated intermediary colors, shades or tones, 
appear between each of the process colors. 

It is absolutely necessary to remember that the finest harmonies 
consist of softened colors. These are tones in which gray has been 
mixed, or in which yellow, red and blue are all present to a certain 
extent. The softer or more neutralized the color, the larger the area 
it may cover. Strong and brilliant colors must be used in limited quan- 
ties, compared to the grayer, or subdued mixed colors. The more 
violent and brilliant the color, the less area it should cover, if a beau- 
tiful result is desired. The use of colors can be greatly expedited by 
following these general rules. Color combinations are endless, how- 


INKS AND THE Harmony or Cotors 589 


ever, and no rules have ever been formulated that can produce beauty 
automatically. The person of rare taste and skill will] instinctively 
produce attractive and beautiful color combinations, but the mere 
workman, through the aid of the suggestions and rules herein, may 
avoid making bad combinations. 

To apply the rules here given in ascertaining what colors of ink will 
harmonize well on any color of paper, consider the paper as one of 
the colors of the harmony. 

To obtain the approximate affect on white paper, or with opaque 
inks on colored paper, of any of the combinations shown in Fig. 1631B 
to 1774B, cut an opening in a piece of the stock under consideration, 
the size of the combination, as printed, and place the opening over the 
samples of color. 

The same ink when printed on different kinds of white paper may 
not always appear as the same shade or tone of color, and the appear- 
ance of almost every color is affected by the quality and color of the 
stock if printed on a colored stock. 

Colors of the same name from different ink manufacturers are not 
always identical in color, in fact, they seldom are, and even the process 
colors will vary from different manufacturers, and in different inks. 
Thus, while the colors used on pages 577 to 584, inclusive, are prac- 
tically standard, they are subject to variation. 

The original plate, which was duplicated in lead mould electrotypes, 
used in printing the samples of color, Fig. 1611B to Fig. 1630B, in- 
clusive, was a combination halftone, 150 line screen, and flat tint plate. 
The section at the left printed the solid or full color, while the half- 
tone sections following towards the right, were so manipulated in the 
etching as to make them print in tones approximating three-fourths, 
one-half and one-fourth the strength of the full color. The tones 
obtained from the different halftone sections of the plate may be 
approximately produced when printed with flat tint plates by using 
inks made by adding white to the full colors as printed in these samples. 

In the color combinations shown in Figs. LO31.B 10917745, Ain; 
clusive, each was made with two printings, the color at left being 
printed first with a plate as shown in Fig. 1795, then that at right 
with a plate as shown in Fig. 1796, the lower half of the plate over- 
printing the lower half of the first color printed, and producing a 
third color. The color obtained by the overlapping of the two colors 
is approximately the same as would be obtained if equal parts of the 
two colors were mixed and printed at one time. 

The numbers in small figures just above the figure numbers for the 
color combinations refer to the figure numbers of the two colors used in 
the combination, that at the left being for the color at the left and that 
at the right for the color at the right, and by which the colors may be 
traced to the names of the colors on pages 577 and 578. 

If a shade or tone chosen is not found among the specimens shown, 
by changing slightly the proportions of the fundamentals in the one 
shown that is nearest that which is wanted, the color desired will be 
obtained without difficulty. 

While any printer may readily mix inks to obtain approximately 
any of the colors shown, if he has in stock the three process colors, 


590 COMMERCIAL ENGRAVING AND PRINTING 


mixing white and black, it is usually more practical when a con- 
siderable quantity of ink is required, to order from an ink maker. 
The exact colors as shown may be obtained from Philip Ruxton, 
Inc. It will also facilitate matters if the figure number as given 
herein is stated and reference is made to COMMERCIAL ENGRAVING 
AND PRINTING, when sending the order. 

The ink used in printing any job is an item that must be estimated 
separately, the same as the quantity and quality of paper, workman’s 
time for the different operations in typesetting, presswork, etc. 


Line etchings on zinc. The designs were marked out on metal, outlined and routed. Wax moulded nickeltypes were 
made from these to use in printing the color combinations in Figs. 1631 to 1774. 


Fig. 1795. Fig. 1796. 


The plates used in printing the color combinations in 
Figs. 1631B to 1774B, inclusive. 


While experienced printers can closely estimate the quantity of ink 
required to print a certain piece of work, there is no fixed schedule as 
to the requirements for printing a stated number of impressions of a 
form covering a given area. The amount necessary will vary greatly, 
depending upon the nature of the form being printed. For illustration, 
a form made up of widely spaced lines of light face type will require 
much less ink than one that is made up of heavy black face type, or 
plates containing large areas of solid color. Also the cost of the ink 
varies with the kind and quality; reds, blues, greens, etc., in the better 
grades being more expensive than blacks. 


Ea, it! eta err 


eat ho ae Ee tee: em 


—p | 


iy, bossing, Ay Lamping and 


n Culling Dies 


*Fig. 1800. 


MBOSSING is the process of raising the lines or contour of a sub- 
kK ject in relief above the surrounding surface, or depressing them 
below that surface. It is commonly referred to as cold embos- 
sing or hot embossing and the work may be done on a light job press 
when the form being embossed is a small one, on a heavier job press 
for larger forms or on a press built especially for such work. When the 
subject is a large one covering considerable area and the die js not too 
deep, or when a form is made up of several dies to be run on one sheet, 
it is sometimes practical to do the work on a cylinder press. 

Embossing is much used for booklet and catalog cover designs, 
labels, display cards, calendars, etc. | 

In steel die embossing, as explained elsewhere, the color is applied 
and the embossing done in one operation, but in letterpress printing 
and lithography the color is first printed in the usual way anda 
separate operation is necessary for embossing. 

Embossing cannot be done from type, electrotype of type, or any 
other kind of relief printing plate, but must be done from a special 
intaglio plate. Such a plate is necessary even though a part of the 
subject may show in relief and a part depressed; and many striking 
effects are obtained through the ingenuity of the designer and the die 
cutter. T’o the layman some embossed subjects have the appearance 
of having required two or more press operations to accomplish the 
results shown, as for instance, to produce raised characters on both 
sides of the sheet in the same subject. In reality both of these effects 
as well as variations in the height of the embossed lines and differently 
finished surfaces of the embossed parts, are obtained with a single 
impression. The effects are accomplished through the manner in 
which the die is made. Also dies for some label and other special work, 
are made with a cutting edge and will emboss and cut, or die out at one 
operation, others are made to print, emboss and cut at one operation. 

It is impractical to attempt to emboss small lettering, light face 
borders and any other small detail, especially on medium or heavy 
weight stock. The lighter the stock used the more delicate the detail 
may be in the die, while the heavier the stock the coarser the detail 
required in the die. 

A design may be first printed in any number of colors and the entire 
design then embossed with one impression. Or, the printing may be 
entirely omitted and the entire design produced by embossing. This 
latter is known as plain or blind embossing. Then, certain parts of a 


*Square-outline halftone, 133 line. Made from a wash drawing. The white border line was cut on the plate. 


592 COMMERCIAL ENGRAVING AND PRINTING 


subject may not have been printed at all and the detail of the printed 
part as well as that necessary to complete the design may be carried 
in the die, thus producing part of the subject in blind embossing and at 
the same time embossing the part of the design which has been printed. 

Embossing has a tendency to burnish bronze and other metallic 
colors that have been printed, and to brighten others. Blind em- 
bossing also smooths out the stock in such a manner as to give a 
difference in color and prominence to embossed parts. Gold, silver 
and other metallic colors will be given further luster if a sheet of metal 
foil is placed over the die so that it may come between the sheet being 
embossed and the die at each impression. 

Any paper or cardboard that will fold without cracking will emboss 
well. The depth to which it may be embossed depends upon the nature 
of the die as well as the stock. Not all paper or cardboard stock can 
be successfully embossed. A sheet that is brittle will break where the 
edges of the die come in contact with it, while a very thin sheet that 
is soft and pliable will not retain the embossing, although the impres- 
sion when first made will appear very satisfactory. Cover stocks, 
linen and bond papers, bristol boards, etc., are usually the best stocks 
for embossing, although some qualities of these are not suitable. 

Heavy, hard stocks, although they may be pliable, require very 
heavy pressure to bring out the embossed design properly and it is 
sometimes necessary to give more than one impression, the additional 
impression, or impressions, being given immediately following each 
other. Instead of repeating the impression, better effects are some- 
times obtained by slightly dampening the sheet before embossing it. 
A roller covered with flannel and dampened with water may be passed 
over the surface to be embossed, or the sheets may be dampened by 
being placed between damp cloths or blotters. Stocks in which the 
color is not fast, and enamel coated stocks, cannot be worked in this 
way, and no kind of stock should be dampened to an extent that would 
cause it to wrinkle or draw. 

The plate supplied to the printer with which to do the work is 
known as the female die and the male die is built on the press by the 
embosser. The male die is made of various materials, different em- 
bossers having different ideas as to what will produce best results. 
The materials used may be gutta percha, special embossing compounds 
as made by different ink manufacturers, plaster of paris, cement, tissue 
paper, etc. For extra deep embossing and on long runs, where heavy 
stock is used, a male die built up with pulp board, kraft paper and fish 
glue, becomes very hard and will last almost indefinitely. The male die 
is also known as the counter die, or the paper matrix, and by some is 
called the force. 

It is unwise to attempt to print the color from a type form and 
afterwards emboss it, even though the die has been made from a proof 
of the form. In unlocking and locking up such a form characters in 
it may shift slightly with the result that the die will not register with all 
or a part of the printed characters. It is better to electrotype the form, 
print from the electrotype, and take a proof from the electrotype from 
which to make the embossing die. As the die has then been made from 
the same plate as the printed impression, a perfect register is assured. 


EMBOSSING, STAMPING AND CuTTING D1ikEs 593 


KINDS OF DIES 


When the stock to be embossed is light in weight and a compara- 
tively small number of sheets are to be embossed, it is customary to 
make the die on zinc. If the characters are small and little depth is 
required, they are usually made on 16-gauge zinc, the same as used 
in making line etchings, but if the lines of the subject are heavy and it 
covers say 10 or more square inches of surface, and is to be used on 
medium or heavy stock (the number of impressions to be made with it 
comparatively small), it is customary to make such dies on zinc I1 
points thick. In making dies on zinc that are to work with line etchings 
that are being made at the same time, the same negative is used for 
obtaining the print on metal for the die, as is used for obtaining the 
prints for the printing plate, or plates, the print for the die being re- 


Fig. 1801. Some types of embossing dies. 


Double print outline-vignette halftone, 133 line. From a slightly retouched photograph. Proof from type of letter- 
ing was arranged separately for double printing. The surfaces of the dies were rolled with a gray ink before photographing. 


versed through making a positive or rolling up, as explained under 
the process of making line etchings. The cheaper dies are etched to 
full depth required and very little hand finishing is given them. The 
better dies, however, are partly etched and the bottoms of the lines 
are smoothed, deepened and rounded out with a hand tool to give a 
half round appearance to the embossing from them, while the sharp 
edges are rounded off slightly to prevent the die from cutting the 
stock. If lines are only etched the surface of them will have a tendency 
to be rough and the embossing from them will be flat with square edges 
and will not be as smooth, clean and pleasing as embossing from dies 
that have been smoothed and rounded out by hand work. 

The etched die, regardless of the kind of metal on which it has been 
made, embosses or raises all lines to the same height, because the lines 


Pages 593 to 608, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


594. COMMERCIAL ENGRAVING AND PRINTING 


in the die are etched to the same depth. Greater depth to some of the 
lines, as for the main lines of lettering in a design, to give greater relief 
to them, is obtained by further etching them or by hand tooling them. 

The commonly used types of embossing dies are shown in Fig. 1801. 
Die A was cut on 14-inch brass and mounted to type high by screwing 
on to a steel base; B was etched and hand tooled on 16-gauge zinc and 
mounted to type high on a type metal base by nailing; C was cut on 
¥4-inch brass and is unmounted; D was etched on 11 point zinc and 
nailed on to a type high metal base; E was etched and hand tooled on 
16-gauge zinc and backed and beveled for use on patent bases; F isa 
two-on steel printing, embossing and cutting die as used on the press 
shown in Fig. 1819; G is an unmounted %4-Iinch brass stamping and 
embossing plate with cutting edges for stamping with foil or leaf a 
letter with raised ornamental center and sharp sunken or cut edges and 
H was etched and hand finished on 11 point zinc and then sweat on a 
solid type metal base. 

BRASS DIES 


It is generally conceded that the best embossing dies are made on 
brass. The brass plate on which the design is etched, or cut, is usually 
¥%-inch thick, although it may be made on metal of any thickness. 
The 14-inch metal is usually carried in stock by all die cutters, hence 
there is no delay in the execution of orders when metal of this thickness 
is used. 

In making a die on brass that is to work with a printing plate, ora 
set of plates for printing in colors, the engraver uses the same negative 
for making the print on the brass plate that is used in making the 
print or prints on metal to be etched for printing. This plan insures 
3 perfect register of the embossing plate with the printing plate or 
plates. 

When the negative is not available for making the print on metal, 
a proof may be made from the printing plate, and this proof before it 
is dry is placed face down on the brass plate and an impression taken. 
The design will be imprinted clearly enough on the plate to make it 
possible for the die cutter to outline the design and then cut, tool or 
etch the design on the plate from which the embossing is done. 

The best dies are hand cut, and much skill and care are necessary 
to obtain lines, forms and letters that are clean and round—lines that 
will produce sharp embossed characters with correct detail without 
cutting or marring the stock that is being worked. 

Designs in which there is elaborate figure work and modeling are 
sometimes cast in brass from a plaster model. Such a cast, of course, 
requires finishing but it is often easier to obtain the proper modula- 
tion for faces and figures by this method than it is by hand cutting. 


COUNTER SUNK DIES 


Some subjects require that some special character or part of the 
design appear in relief on another part which appears in less relief. 
For example, a panel may be raised and on this panel may appear a 
monogram, insignia or some other character. In making a die to pro- 
duce this effect it is first necessary to etch, rout or cut out the part of 


EMBOSSING, STAMPING AND CutTTING D1Es 595 


plate corresponding to the panel and then on the surface of this panel 
which, of course, is below the surface of the face of the plate, the special 
design is cut or etched. These dies, carrying as they do one design cut 
on the surface of the die and another one cut on the surface of the first, 
are known as countersunk dies. 

It is not customary for an engraver or die cutter to furnish a proof 
of the die, either alone or in combination with the printed design with 
which it may be used, although usually he will make for his own pro- 
tection a cast in plaster of paris of the more complicated dies to make 
sure that all the detail has been properly cut and to show the em- 
bossing possibilities. Usually this is not delivered with the die. When 
proofs are furnished an extra charge is made for them. A considerable 
part of a workman’s time is required for the registering and proving 
of color plates, if the design is printed in colors or even in one color, 
in addition to that required for makeready, registering and proving 
the die. Thus the cost of proving such work is an item of some conse- 
quence. 

Some of the more simple dies can be cut by hand at less expense 
than they can be etched. 

For paneling, plate marking and embossing flat designs of simple 
outline, cardboard is frequently used as the male die. The sheet is 
outlined to the shape required and made ready on the press in the same 
way as a metal die and the thickness of the board used regulates the 
depth of the embossing, but for a run of any great number of impres- 
sions a metal plate is to be preferred. 

Special routing equipment is used for routing brass dies and plates, 
they being deeper or in greater relief, and not always uniform in these 
respects as are the usual line plates on zinc. 

As different printers have different equipment for handling em- 
bossing dies, the die cutter should be informed as to the kind of press 
to be used for embossing and the thickness of metal that should be 
used for the die. 

STEEL DIES 


Although a brass die with proper handling will stand considerable 
wear and render good service for a large number of impressions, when 
a die is to be subjected to long and severe use it may be cut on a steel 
plate and the plate case-hardened. This will then permit of almost 
unlimited use. 

MOUNTING DIES 


Unless otherwise instructed, engravers mount all embossing dies 
that have been etched or cut on 16-gauge or II-point metal on solid 
type metal bases. 

When such dies are to be subjected to only short runs and are not 
to have hard usage, they may be mounted on wood, but generally 
speaking it is impossible to obtain as satisfactory work from a die 
mounted on wood as from one mounted on solid metal, because of 
the sponginess of the wood and the necessity for a firm solid base 
under the plate in order to get the proper impression. 

When the usage will not be too severe, dies made on II-point metal 
may be beveled and used on patent bases. This plan is especially 


596 COMMERCIAL ENGRAVING AND PRINTING 


advantageous when several copies on one sheet are being embossed 
at one impression on either a job or cylinder press, because by the use 
of the patent bases correct register is easily obtained. 

Embossing dies made on brass are delivered unmounted unless 
otherwise ordered, and quotations are made accordingly. Some em- 
bossers require that brass dies be mounted on a steel base to make 
them type high, the die being attached to the steel base with screws. 
To mount in this manner, holes are drilled in the back of the embossing 
die and threaded. The holes in the base plate are countersunk so that 
the heads on the screws with which the plate is attached to the base 
are above the bottom surface of the base. Use is sometimes made of 
an additional brass plate or plates for backing a die to type height, 
the extra plate or plates being attached to the back of the die with 
screws. 

Type metal bases cannot be used on plates for hot embossing, be- 
cause the heat will affect them, although some find bases made of 
stereotype metal satisfactory if the die is electrically heated. The 
mounting must be determined by the kind of press and method of em- 
bossing to be followed, the kind of stock to be embossed and the 
probable number of impressions, as well as the kind of die being used. 


MAKING THE DIE READY 


When the work is to be done on a job press, the ink rollers are 
removed and the platen is stripped of the draw sheet and all packing. 
A sheet of cardboard a little larger than the design to be embossed is 
glued to the center of the platen. The embossing plate, having been 
locked in a chase, slightly below the center, is now put on the press 
as for printing. If the die contains large deep areas, the male die in 
parts directly opposite will need a special built up base on the platen. 
The plastic embossing compound or special composition that is being 
used is spread over the card, and parts specially built up on the platen 
in a thickness sufficient to fill the lines of the die, then three or four 
sheets of thin tissue are placed on top to prevent the composition from 
adhering to the die when the impression is taken. The press is now 
operated slowly by hand to make the impression of the die in the com- 
position, giving the latter a short time in which to set while the impres- 
sion is greatest, and afterwards gradually releasing the impression and 
then removing all but one piece of tissue, after which the press is 
allowed to stand open while further makeready on the die is completed. 
The surplus composition around the outer edges is cut away, as well as 
parts of the surface of it that come in contact with the face of the die 
but are not to be embossed, thus relieving the pressure from parts 
where none is required and giving more to the lines in the design that 
are being embossed. 

After the makeready has been completed, a sheet of thin tissue is 
placed over the newly made counter die and an impression made to 
form it properly as a finishing overlay to the die. The work is then 
allowed to stand for several hours until the newly made die has thor- 
oughly hardened. Usually the plan followed is to make the die ready 
in the evening and let it stand until the following morning, when it is 
ready for use. 


TP AS 1S FS 2 


EMBOSSING, STAMPING AND Cutrtina DrEs 297 


Much skill and care are necessary in making the male die and pre- 
paring the makeready properly so that the die proper will produce a 
full clean-cut impression and carry all detail. The die may be ever so 
good, but unless it is properly handled by the embosser results will be 
disappointing. 

While naturally considerable impression is required—this depend- 
ing upon the size and nature of the die, and stock used—yet the make- 
ready of the die may be so handled as to make it entirely practical to 
handle heavy dies on a heavy job press without damage to the press; 
and lighter dies, of course, may be handled as easily on the lighter 
presses, thus making special embossing presses unnecessary, except 


Square halftone, 150 line, no line. Made from a slightly retouched photograph. 


Fig. 1802. Embossing die in chase on press and 
makeready with gauges on platen. 


when the work is unusually heavy or when embossing is made a regular 
feature of the business. 

It would be impossible to utilize the male die if made separately, 
as difficulty would be encountered in mounting it on the platen and in 
obtaining a register of the female die with it, and the more delicate 
lines would more than likely be destroyed or damaged in the process 
of getting it ready to run. 

It would also be impractical to use metal male dies in connection 
with metal female dies for embossing paper or cardboards. Not only 
would they be expensive but there would be difficulty in registering, 
and special care would be required to prevent difficulties that might 
come from the dies cutting stock during the embossing operation. 
Further, for best results, some resiliency in the male die is necessary. 

After the counter die has hardened sufficiently, the guides are set 
on the platen as for printing, and the sheets or cards to be embossed 
are fed one at a time to the press, which is operated as for printing. 


598 COMMERCIAL ENGRAVING AND PRINTING 


The sheets, of course, must be fed accurately to obtain perfect register 
of the die with the design that may have been printed, or to obtain 
proper location for the design if it is being blind embossed. 


HOT EMBOSSING 


Much of the embossing as done by job printers is known as cold 
embossing, not all printers having facilities for hot embossing. While 
excellent work may be done on some stocks when embossed cold, 
better work may be done on almost every kind of stock if hot em- 
bossed, and some stocks will require heat to emboss with any degree 
of satisfaction. Heat may be applied to the die on the press in a number 
of different ways, the best of which is by an electric current. Several 
different kinds of electrically heated embossing blocks are on the 
market, some of them taking dies of one thickness and others of an- 
other. They also require different methods of attaching the die to the 


Line etching on zinc. Made from a pen drawing. 


Fig. 1803. The Thompson electric heating blank for émbossing. 


heating plate, some of them being provided with clamps for the pur- 
pose and others requiring that the die be attached to the blanks with 
screws from the back. 

The stock being embossed is not heated except as it comes in 
contact with the hot die, which receives the heat from the base on 
which it is mounted. Heating the stock while being embossed has a 
tendency to soften it as well as to cause the embossed design to retain 
its shape and detail permanently. Different stocks require different 
amounts of heat and too much heat will cause damage to the stock 
while too little will not enable the embosser to obtain best results. 

This method is also used for ironing out panels on rough surfaced 
stock on which to print halftones or for other purposes. A flat piece 
of brass or steel of the size of the panel to be ironed out is attached to 
the hot plate and the sheets are fed to the press as if they were being 
embossed. 

Special embossing presses exclusively for embossing are used for 
heavy and special work. Almost all of them are supplied with equip- 
ment for heating the stamping or embossing plate with gas or electricity. 


EMBOSSING, STAMPING AND Curting DtkEs 599 


MISCELLANEOUS 


It is not necessary always to emboss the entire design as cut ina 
die, as often the design has been so made that it is possible to omit 
certain parts if found advisable to do so. To accomplish this it is only 
necessary to cut away the counter or male die, after the makeready 
has been completed, of the part that is not to be embossed, or, if more 
convenient, the counter die need not be made for the part that is to 
be omitted, but the remaining parts of the die may be built up around 
the omitted part. This is sometimes of advantage when using an old 
die on which may appear a name, date, or some other feature that it 
is advisable to omit. 

Dies may be corrected, or altered, by drilling almost through from 
the back and tapping up to the surface the part to be corrected and 
then cutting the correction. 

It is impractical to attempt to use the same plate for both printing 
and embossing. For illustration, a reversed line etching may be made 
to show a white letter on a black background, and then printed in a 
tint. By embossing the lettering from the same plate plain or blind 
embossed letters on a background in color will be obtained. If the 
plate is properly made for printing, however, the edges of the char- 
acters will be so sharp that they will probably cut or tear the paper 
when the plate is used for embossing, and on the other hand, if the plate 
has been made properly for embossing the edges will have been rounded 
off, so that when used for printing the printed characters will not be 
sharp and clean. 

Often in printing and embossing labels or other small subjects, it 
is found advisable to print and emboss several at a time. To accom- 
plish this it is not necessary that an original die be made for the entire 
group of designs as printed, but a die for one label may be obtained 
and from this electrotypes made. The electrotypes should be made 
with extra heavy shell for embossing and they can be made up into 
a form to emboss the entire sheet at one operation. 

In sending proof of an electrotype form, line etching, or other line 
plate, and ordering an embossing die to be made to work in connection 
with it, the proof should be made on a thin transparent paper, which 
should be thoroughly dusted with bronze. This will make a thor- 
oughly opaque print which the engraver may use as a negative in 
making the print on metal for the die, which if on zinc is etched in 
the same manner as a line etching. This will insure a perfect register 
of the die with the printing plate. The engraver should also be fur- 
nished with a sample of the stock on which the die is to be used and 
should be instructed as to whether the design is to be embossed in flat 
lines, which are usually obtained by etching, or in half round effects, 
which are obtained through hand work on the die. 

In ordering a die to emboss a design that is to be printed in several 
colors and in which no one of the printing plates carries all of the 
detail, it is best to have made a shallow etched plate of the working 
drawing which may be used by the die cutter and from which he may 
obtain a transfer to use as a guide in cutting the die. Or, the key plate 
may be used for making the transfer, and, in case it is not to print 


600 COMMERCIAL ENGRAVING AND PRINTING 


all detail, it may be left intact until after the transfer has been made 
and then altered as necessary before it is used for printing. 

When it is impossible to obtain a print of a working drawing from 
the same negative that is used in making the printing plate or plates, 
it is necessary that the full set of printing plates, if the subject is to 
be printed in color, be given to the die cutter with instructions as to 
how the subject is to be embossed, and he will then make such proofs 
as may be necessary to obtain the transfer for obtaining the necessary 
outlines for cutting the die. It would be impractical to make a special 
negative from the working drawing from which to make print on metal 
to be etched for an embossing die, to register with printing plates made 
from a different negative of the same drawing. The least difference in 
size in the two negatives would cause the plates to be out of register, 
and it would be almost impossible to obtain two negatives of the 
same subject, made at different times, that would be exactly the same 
size. The advantages in ordering dies from the firm making the 
printing plates will be readily seen in the foregoing. 

- A design to be cut for embossing may also be traced on tissue and 
then transferred to the metal where the design may be outlined, etched 
or cut, as necessary. 

It is always advisable to have dies made by a competent engraver 
or die cutter. Dies so obtained are less expensive in the end and pro- 
duce work superior to that produced from dies made by those who are 
inexperienced in the making of such plates. 


PATENTED PROCESSES 


While the effects to be obtained by embossing are practically un- 
limited in number, a patent is held covering the procedure of printing 
and then embossing to imitate a piece of cloth pasted on a card, the 
scope of which should be investigated before planning for work of this 
nature. 

There is another process, also patented, by which the printer is 
enabled to make his own die. As more or less skill is required for 
making the dies, the success of the method depends upon the ability 
of the printer, and while practical for some of the more simple designs 
it is not so for the more intricate and elaborate work unless handled 
by an expert die cutter. 

COST OF DIES 


There can be no fixed scale of prices for embossing dies of any 
kind. Owing to the variance in the kinds of material on which dies 
are made and the time required for transferring, etching, hand tooling 
and special finishing the different items must be charged for on the 
basis of cost of material and the actual time required by the workman 
in finishing each individual piece of work. 

From the explanation of the process it will be readily understood 
that considerable time is required for the proper makeready of em- 
bossing dies, after they are put on the press, especially those of large 
size and of complicated design. Such work also requires the attention 
of a workman expert in this line, as well as necessitating the standing 
idle of an expensive press during the process of making the male die 


EMBOSSING, STAMPING AND CutTtinG Dtkrs 601 


Both are outline halftones. Fig. 1804 is 150 line and was made from an unretouched photograph. Fig. 1805 is 
133 line and was made from a slightly retouched photograph. 


Fig. 1804. A binder’s Fig. 1805. A brass plate for 
stamp. stamping book covers. 


and makeready. Thus it will be appreciated that the cost of making 
ready a die is more than for making ready a printing plate. The 
time required for embossing the sheets after the die has been made 
ready is about the same as required for printing a one color job in 
which careful feeding is necessary. : 


STAMPING PLATES 


These in reality are relief printing plates and when properly 
mounted could be used for letterpress printing. On account of the 
material, such as cloth, leather, etc., on which they are commonly 
used, they are usually made so as to give greater relief to the printing 
characters, and the better plates are hand cut and carefully routed 
so as to produce clean, deep characters on the plates. They are used 
mostly for stamping leaf and foil, for printing book covers and titles, 
and for other purposes in which a deep plate is necessary. They are 
also used for blind stamping designs on cover pages of books, when 


— 


MiNalicivivos!| 
6 VAIO GS: 


Square halftone, 133 line, no line. Made from a slightly retouched photograph on which the special background 
was painted. The faces of the plates were rolled with white ink before photographing. 


Fig. 1806. The set of brass plates used in stamping 
the cover of this book. 


602 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftones, 133 line. Fig. 1807 was made from a slightly retouched photograph and Fig. 1808 from 
a black on white print from a halftone. 


Fig. 1807. Press for stamping Fig. 1808. Sheridan press for hot embossing 
book covers. sheets as large as 64 x 44 inches. 


no color is used in printing the design, the design by this method 
being impressed on the plain stock. They are too used for stamping 
leather goods and other materials and for printing wooden boxes, 
Best results are obtained when used in connection with heat. The 
lettering on the cover and backbone of COMMERCIAL ENGRAVING AND 
PRINTING was printed with brass stamping plates, the same being 
shown in Fig. 1806. It will be noticed that the design was made in 
several pieces. This was done to save material and to permit change 
in location of parts, which are glued to a base in their respective places 
for use. 

Though stamping plates could be etched on thick zinc, they would 


Outline-vignette halftone, 133 line. Made from an unretouched photograph on which the vignette was painted. 


Fig. 1809. A rubber plate for printing corrugated 
board and other uneven surfaces. 


EMBOSSING, STAMPING AND CuTTING DIES 603 


Outline-vignecte halftone, 150 line. Made from retouched photographs. 
Fig. 1810. Bent rule cutter. Fig. 1811. Rule bender and dies. 
Outfit for cutting and bending steel rule for cutting dies. 


be unsatisfactory as they are generally used with heat and subjected 
to severe usage and therefore a zinc plate would not give the same 
service as a brass plate. However, when only a few impressions are 
required it is sometimes less expensive to etch the plate on zinc and 
then if necessary from this make an electrotype with a heavy shell. 
Regular type may also be set and an electrotype with heavy shell 
made from this which can be used for stamping. Such electrotypes 
or brass plates are usually made about 3%-inch thick to be used on a 
special stamping press and are commonly called binders stamps. These 
special presses may be used for either stamping or embossing. 


STEEL RULE CUTTING DIES 


It is possible for any job printer to produce various kinds of novel- 
ties and special pieces of printed matter trimmed to odd shapes by 
the aid of steel rule cutting dies. 

In planning a subject to be trimmed to an odd shape, the outcome 
will be more successful if the trimmed edges are kept as simple in 
outline as possible and small detail is avoided. These points may 
usually be handled more successfully if the designer is to!d to plan 
the design so that it may be die cut. For such work the printing 
plate is made and printed in the usual way. To make the cutting 
die a proof is taken from the printing plate and, after being carefully 


Outline halftone, 150 line. Made from a slightly retouched photograph. 


Fig. 1812. The steel rule cutting die used in dieing out 
the subject shown in Fig. 1814. 


604 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 150 line, no line. Made from a slightly retouched photograph. 


Fig. 1813. Steel rule cutting die ready to run on a job press. 


trimmed to the exact size that the finished piece of work is to have, 
this proof is mounted on the back of a block of laminated wood. A 
cut is then made through the block with a jig saw, the cut following 
entirely around the outline of the printed subject and thus separating 
the block into two pieces. A piece, or several pieces as the case may 
require, of type high steel cutting rule is now bent with a special 
bending machine to conform to the shape of the cut made by the 
saw between the blocks, and the rule is carefully fitted in. As the 
body of the rule is of the same thickness as the saw blade, it produces 
a solid block again after the cutting rule has been inserted. 

The laminated wood block is used to avoid the possibility of split- 
ting, shrinking or expanding, thus making it possible for the die to 
stand considerable usage as well as insuring a perfect register with the 
printing plate or embossing die with which it may be used. 

After the cutting rule has been put in place, small pieces of cork, 
or sponge rubber, slightly higher than the cutting edges of the rule, 
are glued to the face of the block, these acting as ejecting material to 
force the die cut sheet away from the die after the sheet has been cut. 

The cutting die is now locked in the chase and put on the press 
as though it were a printing plate. The ink rollers are removed from 
the press and a sheet of brass is glued to the tympan of the press. 
Sufficient packing is placed on the sheet of brass to give just the right 
amount of impression to obtain a sharp cut on the sheet when an 
impression is taken from the cutting die. The gauges are set and the 
sheets are carefully fed one at a time as in printing. 


Pages 593 to 608, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champior 
Coated Paper Co., Hamilton, Ohio. 


EMBOSSING, STAMPING AND Currinc Drs 605 


Outline halftone, 150 line. Made direct from the subject which was embossed on heavy light gray paper. 


Fig. 1814. Embossed and died out subject made with 
dies shown in Figs. 1801 and 1812. 


The impression does not make a complete clean cut. In TAC alt 
is better if it does not, but the cut is near enough clean to make it easy 
to separate the cutout from the rest of the sheet. 

If the printed surface is to bleed off the edges as cut by the die, 
the printing plate should be made a trifle larger than the die cut sheet 
is to be, so that any variance in cutting will not be noticed as being 
out of register. Halftones that are to be printed and outlined by die 
cutting need not be made in outline finish. In fact it is better to leave 


Square halftone, 150 line, no line. Made froma slightly retouched photograph on which the background was painted. 
The pieces were grouped as shown and photographed. 


Fig. 1815. A group of printed “cutouts”? made with 
steel rule cutting dies on a job press. 


606 COMMERCIAL ENGRAVING AND PRINTING 


the surrounding background on the plate, as any small imperfections in 
cutting, or in the register of the cutting die, will be less noticeable if 
the ground adjacent to the design is printed, also the expense of out- 
lining and routing the plate is saved. Designs that are to be both em- 
bossed and die cut are embossed before cutting. 

The same principle as here explained for die cutting small job work 
is also used in cutting out and creasing the stock for folding boxes, 
except that larger equipment is required for the larger boxes and the 
dies are combined in such a way as to cut and crease at one operation. 
The method of creasing is explained elsewhere. These methods also 
are used for making the large cutouts used for window displays, 
counter signs, calendar backs, etc. Subjects that are too large or too 
heavy for a press are trimmed with a jig saw. 

Cutting and creasing presses are made up to 30 x 44 inches in the 
platen type and very much larger in cylinder presses, that the largest 
display designs can be handled, or boxes made in gangs. Several 
special designed machines are on the market that feed, print, die cut 
and crease almost any class of work in the box or tag line. 


STEEL CUTTING DIES 


Steel dies for cutting out special labels, cards, envelope blanks, 
or any kind of paper or board when large quantities are to be cut, are 
made of special steel and are used on a special die cutting press. A 
bar of steel about 1% inch thick and about two inches wide, with one 
cutting edge, is bent to the required shape, the ends are welded and 
so treated as to form one continuous piece of solid steel, the cutting 
edge, or knife line, of which corresponds to the design to be cut out. 
The flat sheets of stock to be cut are placed on the press in stacks 
and clamped in proper position. The die is then set in position and 
is driven by the press completely through the stack of stock. By this 
method several hundred of the blanks are cut at one operation, the 
number depending upon the thickness of the sheets; and as the sheets 
have been cut entirely through no time is required for separating the 
cut out blanks from the waste. 

The press shown in Fig. 1819 is used for printing, embossing and 
cutting out paper seals all at one operation. These presses are built for 
printing in one, two or three colors in addition to the embossing and 
cutting out operations. 

The machine shown in Fig. 1820 is used by paper mills, and others, 
for embossing paper or other material from the roll. The machine 


Outline-vignette halftone, 150 line. Made froma retouched photograph. 


Fig. 1816. Steel cutting dies for labels, envelope blanks, etc. 


EMBOSSING, STAMPING AND CUTTING DtEs 607 


Outline-vignette halftones. Made from retouched photographs. Fig. 1817 is 133 line and Fig .1818 is 150 line. 


Fig. 1817. Thompson cutting and Fig. 1818. Seybold die press for cut- 
creasing press for paper box blanks. ting labels, envelope blanks, etc. 


shown will emboss paper up to thirty inches wide at the rate of 250 feet 
a minute. The design to be embossed is engraved in relief on a steel 
roll known as the male or upper roll. The lower or female roll, is 
double the size of the male and is made of pressed paper in which the 
design is depressed. The design must be so devised that it will be com- 
plete in the circumference of the rolls, that it may be repeated con- 
tinuously on the sheet. The paper is embossed by passing between the 
rolls. 


Outline halftone, 150 line. The illustration of the machine was printed from a wax moulded electrotype made 
Made from a black on white from an outline halftone, 120 line. The reproduction of the specimen is a square 
halftone print. finish halftone, 150 line, no line, and was made direct from a sample. 


Fig. 1819. Seal press. Fig. 1820. McDonald paper embossing machine and a 
reproduction of a specimen of work done by it. 


*Fig. 1825. 


HEET music is usually printed by the lithograph process. Before 
the manuscript goes to the engraver, it is first reviewed very care- 
fully and marked as to the arrangement of staffs, bars, and divi- 

sions, so that the turning of the pages of the completed music will come 
at such places as not to interfere with the rhythm of the composition. 

The engraving is made on a thin metal plate composed of tin, lead, 
zinc, and copper. While the engraving is made the actual size of the 
finished print, the sheet of metal itself is slightly larger in order to 
leave sufficient margin for handling, and an entire page is always 
engraved on a single plate. The first step in the process is the en- 
graving of the lines of the staff. This is done with a tool resembling 
a five-pronged fork. When this is drawn across the plate, it leaves 
the five lines of the staff cut exactly parallel and all of the same length, 
width and depth. The end lines are then ruled and the bass and treble 
cleff signs are punched in with a stencil die. In the next operation, 
the bars of the measures are tooled in, after which the notes are 
stamped in with a stencil. Following them, the stems and connecting 
bars are tooled in. The words or text matter are likewise added to the 
plate with stencils or punches representing the different letters of the 
alphabet and dies of common expressions. After the various expres- 
sion characters and the text matter have all been added to the en- 
graving in their proper positions, the plate is ready for inspection and 
correction. Corrections are made by tapping the plate up from the 
back so as to bring the face of the engraved metal flush with the sur- 
rounding metal. The surface is then rubbed down and polished and 
the correction re-engraved upon it. 

At this stage in its manufacture the engraving is known as an 
intaglio plate. The characters that are to be printed from in the 
finished engraving have been punched or cut into the face of the plate, 


*Square-vignette halftone, 150 line. Made from a slightly retouched photograph on which the background and 
lettering had been painted. The punches and tools shown are sorae of those used in making music plates. 


i i, 


Music ENGRAVING 609 


Square-outline halftones, 150 line. Made from slightly retouched photographs. 
Fig. 1826. Fig. 1827. Fig. 1828. 
The first steps in making a music plate. 


so that when a proof is taken in the ordinary way the characters them- 
selves do not print at all. The background is all that prints, letting 
the characters show through in the color of the stock on which the print 
has been made the same as shown in the print from a copper plate in 
Fig. 1228. 

A proof is now taken and sent to the author for final correction or 
approval. A light colored ink is used on this proof as a convenience 
in connection with the marking of corrections, as they will be more 
clearly indicated when the background is in a tint than if it were 
printed in black. 

After the engraving has been approved, a transfer is made from the 
plate to get a proof showing the characters in black on a white ground, 
as they would ordinarily appear. A sharp, clean transfer will insure 


k) ore atoshrA 
: - . ; 


ree — 


Square-outline halftones, 150 line. Made from slightly retouched photographs. 
Fig. 1829. Fig. 1830. 
The final steps in making a music plate. 


610 COMMERCIAL ENGRAVING AND PRINTING 


a clear-cut printed page, while a poor transfer will produce a rough 
dirty job of printing. 

After the plate has been inked, its face is wiped thoroughly clean 
and is polished by hand as in copper plate printing, leaving the 
engraved lines and characters filled with ink. A proof is then taken 
on a special transfer paper, this print being obtained in the same way 
in which a print is made from an engraved copper plate. A proof is 
made of each page to be printed and these are placed in their respective 
positions face down on a lithograph stone from which the final sheet is 
to be printed. The proof is transferred to the stone, after which the 
transfer paper is removed and the print is etched into the stone. 
Scratches and other defects in the plate, such as blots caused by nicks, 


Line etchings on zinc. Made from black on white prints. 


Fig. 1831. From an engraved and Fig. 1832. From hand-set music 
punched plate. type. 


The two methods in comparison. 


etc., are taken off during the process of etching. A coating of gum is 
then applied, which adheres to the stone on all the surface except that 
covered by the characters in the print. The stone is kept damp 
throughout the process, so that the ink adheres only to the characters 
and not to the entire stone. The sheets are then printed on a litho- 
graph press just as in the ordinary method of lithograph printing. 

The title or cover pages may be produced by any process of en- 
graving. The less expensive designs are hand engraved on metal and 
lithographed by the same process as the pages of music proper. 

In the case of song books, where a large edition is to be published, 
the music is usually set in music type and then electrotyped, the 
final printing being from these electrotypes. The notes on the staff, 
as well as the staff itself, are set with type characters which have been 
cast singly and are interchangeable, just as type for ordinary text 
matter. The text for the words accompanying the music is likewise 
set from type, properly spaced and arranged for correct position with 
the music. 


Pages 609 to 624, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


Music ENGRAVING 611 


When printed from music type or electrotypes from type, white 
spaces will usually be noticed in the lines of the staff at the joints and 
elsewhere between the characters, of which it is composed. Where 
worn or damaged type is used, these defects are very noticeable in the 
finished work. When set in new type and then electrotyped, the 
resulting electrotypes usually produce cleaner prints than those ob- 
tained by lithographing, especially in the words. However, the results 
to be obtained by either process depend on the condition of the type 
or plates used, the care with which the work is executed and the 
quality of the paper on which it is printed. 

Music type may be obtained in several different sizes and special 
cases are made into which the type is distributed and from which it is 
set by hand. 

The electrotypes from which type-set music is printed are pre- 
served for further use when there is any possibility of reprinting. 
These electrotypes are usually unmounted and prepared for use with 
patent bases, so that it is a simple matter to put them on the press for 
a subsequent printing, and naturally, with frequent use or after long 
runs they become worn. 

In Figs. 1826 to 1830, inclusive, are shown, first, a small section of 
plate on which the staff lines have been engraved; second, a section of 
plate in which the positions for the notes and other characters have 
been marked; third, a section after the notes and other characters 
have been punched or stenciled in; fourth, the plate after the stems 
and connecting bars have been cut; fifth, the plate after the expression 
bars have been cut and the lettering punched, it now being ready for 
making the transfer after the faint guide lines have been burnished off. 

The hand-engraved plates are usually preserved so that when sub- 
sequent editions are desired transfers may be made from them and 
as the life of these plates is practically unlimited, the quality of the 
printing on subsequent editions is equal to that of the first. 

With the development of offset printing much of the sheet music 
is now printed by that method, especially long runs, although the 
plates are prepared as formerly. 

Line etchings may be made from the transfer proofs and the 
printing done with these etchings on letterpress. This method, how- 
ever, is not favored because the kind of paper generally used for 
printing sheet music is better adapted to lithographing and offset 
printing than to letterpress printing. 


(Wsasrr3 Gre TOMA TERI otnai ot wlan 
ait It 


“Fig. 1835. 


ELLING through the aid of pictorial representations and symbolic 

designs is the oldest known form of advertising. The ancient 

Romans scratched messages to the public on the outside walls of 
their houses. The next step was the written placards of the Middle 
Ages, which continued to be popular long after the invention of the art 
of printing from movable types. Churches were the favorite spot for 
the posting of these medieval advertisements. 

The poster as it is known today first came upon the scene when 
the process of printing from engraved wood blocks in colors was 
invented, and it has continued to flourish from that day to this. 

A poster is often defined as “‘A picture that tells a story; a terse 
phrase with no opportunity for fine writing, but a sentence of a few 
words that suggest a thousand others, and a glow of color.” 

The value of the poster as an advertising force is well recognized 
and made liberal use of by advertisers. Its striking effects appeal to 
all classes, for pictures speak a universal language and there is no 
waste circulation, as posters are displayed to all alike. 

An ideal poster for advertising purposes need not be constructed 
with a view to artistic excellence alone, since color can be effectively 
used on the bill boards in a way not possible elsewhere. Strong and 
sensational tones and original combinations give the desired individu- 
ality. However, the reading matter must be as short as possible and 
form a harmonious whole with the design. If an illustration is not 
used, the lettering is usually large and as striking in appearance as 
possible. 

Printed posters admit of frequent change of copy, are uniform in 
appearance and any given territory can be covered quickly and 
thoroughly by their use. 


BILLBOARD AND POSTER SIZES 


Practically every city and town of any size has a bill posting plant 
from which space may be rented through a poster service organi- 
zation, thus permitting posting to be done in an economical and sys- 
tematic way. The boards are now generally constructed of steel, 
instead of wood as formerly, the usual size being 25 feet wide by 11 
feet high over all. This size includes a moulding 6 inches wide, giving 


*Line etching on zinc. Made from a pen drawing and spatter work on rossboard. The shading machine was used 
on the border on the print on metal before etching. 


pee ee ae 


Poster MAKING 613 


the poster a framed effect. Blanking paper is generally used to give 
a margin of 7 inches of white space between the poster proper and the 
frame at the top and bottom and a space of 21 inches at the sides. 
Not only are the conditions made thus attractive for the poster but the 
value of the space on the board is further increased to the advertiser 
by being illuminated at night when practical. 

The standard size of a sheet of poster paper untrimmed is 28 x 42 
inches, and the size of a poster is designated by the number of sheets 
it contains; i. e., a half sheet, 1I-sheet, 8-sheet, etc., and those of 
8-sheet size and larger are known as ‘‘stands.” 

The four-sheet and larger designs are always posted in sections, 
each four sheets high and sections are added as necessary to obtain 
the width wanted. 


Line etching on zinc. Made from a pen drawing. 


Fig. 1836. Layout of 24-sheet poster on billboard. 


The surface of a 24 sheet poster is 4 sheets high by 6 sheets wide, 
and is thus made up of 24 sheets, each 28 x 42 inches. However, the 
printed surface is slightly less on account of the margins, which are 
usually about one inch wide on all edges of each sheet. 

The margins, except those on the outside of the complete design 
all around, do not show when the sheets are mounted together on the 
board, the overlapping edges being trimmed off after the printing has 
been completed, while those that underlap are covered by the edge 
of the sheet mounted above it. When the sheets are put up they are 
rain lapped, i. e., the top edge of each sheet runs under the lower edge 
of the one just above it. 

In accordance with the standard adopted by the posters and the 
poster printers and lithographers the sizes of the various cardboard 
signs and posters are as given in Fig, ivergie. 

While the size of a poster may be designated as being made up of a 
certain number of sheets, this does not mean that it is printed on that 
number of separate sheets, in fact, it seldom is in the larger sizes, and 
the number of sheets actually used is governed somewhat by the 
facilities of the poster maker and the nature of the design. For 
example, a 24-sheet poster may be printed on 12 sheets each 42 x 56 


614 COMMERCIAL ENGRAVING AND PRINTING 


or if it is a design, parts of which require only one or two printings 
and other parts three, four or more, and these parts are so located in 
the design as to make it practical to separate them in making the plates, 
a saving in presswork is often effected by planning to print the subject 
on sheets other than the standard size, but of such size that when they 
are put on the board the several sheets make up the designated size. 
In Fig. 1838 is shown a 24-sheet poster that was posted in twelve sec- 
tions as shown by the dividing lines, but which was probably printed 
in a less number since the smaller sections, which were printed in a less 
number of colors than the remainder of the design, could have been 
printed two at a time. 


4-Sheet Card 11 x 14 inches 


at Bek Ae ee eve 
1 79 (5 22, X 28 79 
1e- “ Poster 28 inches long by 14 inches wide 
4- a3 gms (a9 high 79 Dil (79 (a9 
=v. 28 x 42 inches 
32) eS 84 inches high by 42 inches wide 
8- ‘ ae a, 84 
16- 79 (a5 112 (a9 a9 (a9 168 ce 79 
20- (5 6c ND bc (a9 cc 210 79 (a9 
94- iz9 a3 112 ce (73 (a3 952 (<9 66 


Fig. 1837. Sizes of cardboard signs and posters. 


METHODS OF ENGRAVING AND PRINTING 


There are several methods of poster engraving and printing 
and of course a difference in the quality of work produced by each 
method; the cheaper posters becoming faded and torn within a very 
short time after they are placed on the boards. 

In daylight, yellow is regarded as the most conspicuous color; by 
artificial light, red. Tests have also been made as to the advertising 
value of the different color combinations. It has been found that 
black on yellow can be read at the greatest distance, with green on 
white, red on white, blue on white, white on blue and yellow on black, 
following in the order named. 

Two-color effects are sometimes obtained by using colored paper 
and an ink of a contrasting color. 

Owing to the preliminary expense in designing, engraving and 
making ready for printing, specially designed posters are usually 
ordered in quantities of not less than 500 to 1,000. When only a few 
stands are required it is usually quicker and less expensive to mount 
plain paper on the boards and paint them in an inexpensive way, or 
paint the sheets instead of printing them, and afterwards mount 
them on the boards. These hand painted posters are also known as 
manugraphs. 

Colored posters were first printed from wood blocks on the letter- 
press and this method is still used to some extent, but generally for 
lettering and simple ornamental work. The light and shade effects in 
soft wood engraving are produced by ruling and cross ruling but can 
not equal the stipple and grain effect as produced by lithography. 
High grade pictorial posters are drawn on metal or stone and etched 
ready for printing. 


as 


j 


Poster MAKING 615 


Square-outline halftone, 133 line. Made from a slightly retouched photograph. The white lines were cut in the plate. 


Fig. 1838. A poster printed in sections of irregular size. 


What is known as “‘sidewood”’ of maple, basswood, birch, white- 
wood or soft pine is used in wood block work. The artist sketches the 
design on the block and the engraver reproduces it as in wood engrav- 
ing except that on account of the larger and coarser detail of the design 
and the softness of the wood, larger tools are used and the work may 
be done more rapidly. Each color requires a separate block and the 
combination when printed produces a finished picture or design. The 
different degrees of color intensity are achieved by ruled tints of 
various densities. Block work is mostly used for the production of 
posters in which there are heavy outlines and flat, unblended or 
simply blended color surfaces. 

A majority of the posters of today are produced by the lithographic 
method of engraving and printing, which process is described else- 
where for smaller work. Its use for poster work is a modification on 
a larger scale. Before the metal plates came into general use the 
design was reproduced from stone. When large posters are printed 
from stones the sheets can not be larger than one sheet size as it is 
impossible to procure stones to print larger sizes. In the early days 
of lithographic poster printing the artist sketched the designs on 
stones that were sometimes as large as 40 x 60 inches and weighed as 
much as 800 pounds. They stood them on end, leaning against a sort 
of easel, and the workman mounted a small stepladder to reach the 
upper part. 

Since the adoption of the offset press to lithographic printing, zinc 
plates are used almost exclusively. A zinc plate costs much less than 
stone and can be stored in a smaller space. The printing surface is 
generally double that of a stone, so that a double sheet, 42 x 56, can be 
printed from the metal plate at one operation while only a single sheet 
28 x 42 could be printed on a stone press. Besides this, the speed of 
the rotary press is much greater than that of the flat bed press. 


\ 


616 COMMERCIAL ENGRAVING AND PRINTING 


POSTER SKETCHES 


The first step in the production of a poster is a decision as to the 
size it is to be made, and then a color sketch is prepared. Because of 
the large size of the finished work, the sketch of course cannot be made 
of actual size, but it is made toa scale, usually about I to 20. After 
the sketch has been approved, the outlines of the design are photo- 
graphically enlarged on paper by sections and then transferred or 
traced to sheets of zinc or stone corresponding in size to the dimensions 
of the sheets that are to make up the complete design. The outlines 
of the various colors are sketched on the several key stones or sheets 
of zinc. The layout is also sometimes made by photographing the 
sketch as for a lantern slide and then projecting the design in the 
intended size to a large flat surface on which sheets of paper have been 
mounted. This enables the artist to outline the design in full final 
size on these sheets. 

Practical poster designers endeavor to use tones of color which it 
is possible to duplicate by lithographic inks and which will be per- 
manent as well as effective. Some of the most beautiful tones of color 
cannot be used in printing posters as they will not withstand the rays 
of the sun. 

Also in making up a design consideration is given to the fact that 
if parts of faces or of other conspicuous details are printed on different 
sheets, distortion is likely to occur when the sheets are not properly 
matched in mounting on the board, and effort is made to avoid break- 
ing up the design in this way. 

Much of the poster work is printed in four colors, yellow, red, 
black and blue. These are printed in the order named, and the first 
three are opaque colors while the blue is transparent. 

Not only must care be used in engraving the plates to see that the 
set for each sheet will register in printing, but the plates for each sheet 
must register properly with those of adjoining sheets. Besides this, 
each color must, in printing, be kept uniform throughout the run, as 
a difference in tone in any color on part of the sheets would be notice- 
able and mar the appearance of the design as a whole when mounted 
together. The posting or putting up of the sheets is also an important 
phase of the work, as the effect may be greatly lessened if the sheets 
are put up carelessly and out of register. 

The sheets comprising a set for a complete poster are folded singly 
and so stacked and packed and marked that the bill poster on opening 
the package can tell instantly which sheet goes up first and the order 
in which the others are to follow. 

Some lithographers who specialize in poster work keep constantly 
on hand a supply of stock posters adapted to use for almost any line 
of business or entertainment. The largest users of these stock designs 
are the smaller circuses, theatrical companies, fair associations, etc. 
Blank spaces are left for the insertion of names, dates and other adver- 
tising matter. These stock posters can be had in any quantity and 
at a low price compared with the cost of special original work. 


*Fig. 1845. 


paper, printing and lithographing industries, the product being 

usually sold through the jobber to the printer or lithographer 
and through them to the consumer. Therefore, when the subject of 
envelopes is under consideration the printer should be consulted re- 
garding all doubtful points before any definite plans are made. 

Large stocks of envelopes in various sizes, colors, weights and styles, 
are carried by paper jobbers. However, to obtain envelopes that will 
harmonize in color or size with the letterhead, booklet, catalog, or 
other enclosure, and thereby assure the message a fitting first impres- 
sion, it is often necessary to order them special made. 

The paper of which the ordinary made-up or stock envelope is made 
is usually machine finished book, linen, bond, Manila, or other papers 
having folding and wearing qualities, which are not suitable for fine 
halftone or color printing. Further, the seams and gummed flaps 
prevent the successful printing of special designs made up of fine lines 
or screen, and the possibilities for good printing are somewhat limited 
except for the customary return card in type, or type in connection 
with a rather coarse line etching, wood engraving or coarse screen half- 
tone of such size and so located as to avoid printing over the seams. 
And it might be mentioned here that it is advisable to print from 
electrotype, and thus preserve the original plate, if the seams are to 
be printed over, as they are very damaging to type and plates. 


Y | \HE making of envelopes is a special line of business allied to the 


MAKING BY MACHINE 


The paper from which stock envelopes are made is furnished by 
the paper mill to the envelope factory in special sizes so that there may 
be the smallest amount of waste when the sheets are die cut for the 
various sizes of envelopes. The dies are made so as to cut the entire 
outline of the flat envelope sheet, and the sheets are cut on a special die 
cutting press in lifts of from 100 to 500 sheets at a cut, this depending 
on the size of the envelopes and the thickness of the paper being cut. 

The die cut blanks are placed on the elevator of an envelope ma- 
chine from which they are automatically fed one at a time through 
the machine. The machine gums and folds the blanks to envelope 
shape, sticks the sealed flap, dries the gum on the unsealed or open 
flap and counts the envelopes into bunches of any desired number, at 
the rate of 5,000 to 10,000 per hour. The bunches are delivered to the 


*Line etching on zinc. Made from a pen drawing. The ruled background in the pane was made through the use of 
the shading machine on the print on metal before etching. 


618 COMMERCIAL ENGRAVING AND PRINTING 


Outline halftones, 150 line. Made from retouched photographs. Other types of dies for envelopes are shown in Fig. 
1816 on page 606. 


Fig. 1846. Adjustable dies for cutting envelope blanks. 


operator, who boxes them ready for delivery. Each machine is built 
for making but one size of envelope, although change parts may be 
obtained for making additional sizes, provided the difference in sizes 
is not too great. 


COMMERCIAL 


Envelopes for general commercial correspondence are furnished 
in the following sizes: 


No.5 —37;x5% No. 74—3%x 7% 
No.6 —3%%x6 No. 9 —38%x 8% 
No. 64—34% x6 No. 10 —4%x 9% 
No. 6144—3,% x 6144 No. 11 —44%x10% 
No. 634—3% x 6% © No. 12 —4%x1l 

No.7 —334 x 634 No.14 —5 x11\% 


The No. 634 and No. 10 envelopes are the most used sizes and 
these can be procured from stock in a greater number of qualities, 
colors and weights, than any of the other sizes. 


POSTAGE SAVERS 


The postage-saver envelope has the appearance of a sealed envelope 
but permits of ready opening for inspection, thus permitting the rate 
of postage for third class matter, and it is usually made only in No. 
634 and No. 10 sizes, but can be furnished in any size. 


BARONIALS 


The usual sizes of Baronial envelopes carried in stock are as follows: 
No.4 —354x4Ht No. 534—41% x 53% 
No.5 —44%x5k No.6 —5 x6 
No. 544—434 x 554 
These are used for business announcements, personal and social 
correspondence. 


ENVELOPES 619 


SOCIAL 


Social correspondence envelopes are usually boxed and sold in 
connection with folded note sheets and there is less uniformity in 
sizes, numbers and names of stock from different jobbers and makers 
than in commercial lines, each making its own line of specialties. 


CATALOG 


The ordinary sizes of Manila catalog envelopes are as follows: 


454 x 634 oh ee 4g) 844x114 
44x74 64x 9% DieexoL 2 
65 xi 644x 9% 944x12\% 
54x7T% ie xl0le 10Me xls 
54x84 74x 10% 11%x 144 


These are made in open end, gummed or ungummed; open end 
clasp, open end string and button, etc. 


TWO-FOLD 


The No. 714 Commercial, which is also known as a two-fold enve- 
lope, is carried in stock by all jobbers in several qualities, weights and 
colors, and can be made to order from any stock. The size is distinc- 
tive, being 74 x 37 and the letterhead sheet used with it is 714 x 10% 
inches, necessitating only two folds for enclosure, thus preserving the 
original effect of a nicely engraved or embossed letterhead, without 
marring by folding. 

The cost of extra stock on account of the size of the envelope being 
larger than the customary 634 size is offset by the saving in cost of 
letterhead sheets, because of their reduced size, it being possible to 
obtain nine of these sheets from a 22 x 34, or double folio sheet, instead 
of eight of the usual 814 x I1 size. The regular size letter sheet, 
8% x II, may also be utilized as a two-fold sheet if used with No. 9 
or No. 10 envelopes. 

MANNER OF BOXING 


Jobbers do not break boxes of envelopes when selling them, con- 
sequently the printer must charge extra when an odd quantity is 
ordered instead of even boxes. Stock envelopes are packed 500 to the 
box in the medium size; some of the smaller sizes 1000 to a box, while 
the largest catalog envelopes are packed 250 to the box, as are many 
of the finer grades of correspondence and wedding envelopes. 


SPECIAL MADE 


Special made envelopes may be made in any desired size from any 
stock selected and may be made up before or after printing. How- 
ever, on account of the possibility of better printing when the sheet 
is printed flat than after it is made into the envelope, it is advisable 
to print the flat sheet first and then make it into envelopes after- 
wards. This plan also permits use of the advertising facilities afforded 


Pages 609 to 624, inclusive, are printed on 25x88—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


620) COMMERCIAL ENGRAVING AND PRINTING 


Square-outline-vignette halftones, 150 line. Made from slightly retouched photographs. 
Front view. Side view. 
Fig. 1847. Machine for making envelopes. 


by the use of the back of the envelope by making it possible to print 
both front and back at the same time at no extra cost, and it also 
makes it possible to print more than one at a time. Also by printing 
the flat sheets it is possible to print envelopes of different sizes, letter- 
heads in different sizes, statements or other forms all on the same sheet 
at the same impression. 

This plan not only saves press work, but insures uniformity in 
printing, as well as in stock. This is not practical for short runs, but 
may be made so where large quantities are being printed. In printing 
a combination sheet, a layout sheet should be obtained through the 
printer from the envelope manufacturer to make sure of correct posi- 
tion and size for the envelopes that are to be printed, and to insure 
minimum waste of stock in cutting. 

The sheets, or parts of them, on which the envelopes have been 
printed are cut off and sent to the paper jobber, who sends them to 
the envelope factory to be made up and returned. Envelope factories 
are conveniently located in nearly all parts of the country and have 
large facilities for making up special envelopes from sheets. There- 
fore, little time is required for handling such an order in any quantity 
and the cost is not materially increased. 


HAND MADE 


In the making of hand made envelopes from special stock and in 
special sizes, the sheets are partly trimmed on a paper cutter and then 
with an adjustable die they are cut to envelope shape. This die can 
be so adjusted as to make the cut necessary for any size of envelope 
and from 100 to 300 sheets are shaped at one cut, this depending upon 


ENVELOPES 621 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1848. Kinds of envelopes with trade names. 


The names of the envelopes illustrated above are as follows: APA, High Cut Open Side; APB, Low Cut Open Side; 
APC, Side Seams Open Side; APD, Square Flap Open Side; APE, Reverse Face Wallet Flap; APF, Reverse Face 
Window; APG, Open Side Pointed Flap; APH, Two Fold Imperial; API, Baronial Open Side; APJ, Bankers’ Safety 
Open Side; APK, Open Side Transparent; APL, Wallet Open Side, Side Seams; APM, Postage Saver Window; APN, 
Postage Saver, “Penny Saver;” APO, Postage Saver; APP, Postage Saver, “Penehook;” APQ, Portfolio Open Side; 
APR, Double Metal Tongue Merchandise; APS, Pamphlet; APT, Open End Catalog; APU, Open End String and 
Button; APV, Transparent Document; APW, Safety Express; APX, Single Metal Tongue Reversible; APY, Bankers’ 
Safety, Open End; APZ, Policy Open End; AQA, Glove Open End; AQB, Pay; AQC, Open Side String and Button; 
AQD, Pass Book; AQE, Optical; AQF, Needle; AQG, Theatre; AQH, Drug; AQI, Comb; AQJ, Coin; AQK, Open 
Side Filing; AQL, Adjustable Expanding; AQM, Expansion with Tape; AQN, Single Metal Tongue; AQO, Cabinet; 
Tete Mailer; AQQ, Security Express; AQR, Paper Tongue; AQS, Metal Flap; AQT, Envelope-Bag; AQU 

ag Envelope. 


622 COMMERCIAL ENGRAVING AND PRINTING 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1849. A combination layout sheet of flat envelopes and letterheads. 


the weight of paper used. The sheets are then hand folded and pasted, 
being folded usually several at a time, this depending upon the thick- 
ness of the paper. They are then run out on a table about fifty at a 
time, leaving a margin of about one-half inch of the edge exposed for 
pasting. The edges are covered with paste and the sheets folded and 
put together at the center seam, after which they are put in press and 
left long enough for the paste to permeate the paper. They are then 
run out and the bottom seam is pasted, and after they are thoroughly 
dry the flap is turned down and the envelopes are boxed. 

In printing small orders of special envelopes it is sometimes advan- 
tageous to have the sheets die cut before printing; then after printing 
they are returned to the envelope factory to be made up. 


SPECIAL FLAPS 


The envelope factories have many different stock dies for cutting 
special shapes for the flap, on which may be printed a trademark 
design or other advertising matter. These stock dies are used for 
customers without extra charge and they are also in position to furnish 
special made-to-order dies at a nominal additional charge when a 
special flap is desired. 

These special flaps may be had on any of the standard sizes at a 
very small increase in the cost of manufacture, the flaps being printed 
at the same time as the face. Should extra stock be required because 
of increased size of flap, this would of course add to the expense. 

The dies of the different factories for making stock envelopes may 
also differ slightly for cutting the same size and style of envelope. 


REVERSED FACE 


This is also sometimes called hotel style, souvenir or advertising 
envelope and is a special made envelope usually printed in the flat 
sheet and then made up. The seamed side of the envelope is usually 


(ree, ae) ae ee 


ENVELOPES 623 


“SERVICE THAY SATISEBS © 


The Mustratex our Seal Flap i #4 Stee, 
Mads isc in P4 Maze, 


ay 


Mooncoebnt iy i 
Souarn Staten Envelope Company 
outer at thew 

6 se 


shoot 
woe AR 


ws BS ee 


“GOOD FOR BAD BOYS” SHOES 
Brans THe Weae 


FISH POULTRY MEAT: 


SOs eae 


Double print square halftone, 150 line, no line. Made from a slightly retouched photograph. The envelopes were 
grouped on a gray card and photographed. Proof from type of the reference letters was arranged for double printing. 


Fig. 1850. Envelopes with special flaps. 


used for the return card, stamp and address, leaving the entire surface 
of the reverse side smooth and clean for illustrations of products, 
plant, or other matter. 


WINDOW ENVELOPES 


Any envelope in any size may be made with a die cut opening in 
the face through which the name and address of the addressee on the 
enclosure may be exposed. Postal rules require that the die cut open- 
ing, window, or transparent panel through which the address on 
enclosure must be plainly exposed, must be parallel with the length 


Double print square halftone, 150 line, nol ine. Made from a slightly retouched photograph. The envelopes were 
grouped on a gray card and photographed. Proof from type of the reference letters was arranged for double printing. 


Fig. 1851. Reversed face envelopes. 


624 COMMERCIAL ENGRAVING AND PRINTING 


of the envelope and shall not occupy any space within 13% inches of 
the top, or within 34 of an inch from the bottom or ends. 

One style of window envelope is made by mounting a separate 
piece of transparent paper over a die-cut opening; another is made by 
treating a panel on the face of the envelope with a chemical which 
causes the paper to become transparent, while in another style an 
opening is die-cut in the face. Postal regulations require that the 
sender’s name and street address or post office box be placed in the up- 
per left corner of all window envelopes and that the address within be 
written in a strong color on paper that is white or of a very light tint. 


TWO COMPARTMENT ENVELOPES 


These are special made-to-order envelopes containing a compart- 
ment for a letter or other first-class matter, and another for catalog 
or other third or fourth-class matter, the combination being mailable at 
same postage as if mailed separately, although transmitted as one 
and insuring the arrival of both at the same time. 

In having an envelope made special to order, it is more practical, 
hence less expensive, to select one of the standard sizes, letting the 
distinctive feature of the special be the stock it is made from and the 
manner in which it is printed. 

Odd and special sizes may be used when only a small quantity is 
required, as they must be hand made and small orders are about as 
cheaply made by hand as by machine. 

Envelopes for the enclosure of catalogs and booklets may be made 
from almost any cover stock and can be furnished side or end opening 
with gummed or ungummed flaps, or with clasp or tension fasteners. 


i i 


eo Me Cree ee 


“Fig. 1865. 


linen rags, grass fibres, etc., is the principal ingredient in all 

kinds of paper, their variety is so great that we do not appre- 
ciate the number of kinds until we begin to consider. The accompany- 
ing list, as given in Fig. 1866, although incomplete, will give some idea 
as to the many kinds made and will also assist in more definitely 
identifying special papers for special purposes. Boards made of paper, 
wood or rag pulp are included, as in reality they are but thick sheets 
of paper. 

When the various qualities, weights, sizes and colors are taken into 
consideration for each of these items, it will be appreciated that the list 
covering the paper making industry is a long one. Of these kinds, 
News, Book (including eggshell), M. F. (Machine Finished), S. & S. C. 
(Sized and Super-Calendered), Enamel Coated (Gloss and Dull), Cover, 
Glazed, Blotting, Safety, Gummed, Wrapping, Writing, Linen, Ledger, 
Cardboards, etc., are most used in the various processes of engraving 
and printing. 

Although the methods of manufacture are very complex, the chief 
processes in paper making are practically the same, regardless of the 
finished product. The principal operations are the cleaning and prep- 
aration of the raw material, the reduction to pulp and the re-manufac- 
ture into paper stock. 


A inen rag vegetable fibre in the form of wood, cotton and 


MATERIALS USED 


The chief materials used are wood pulp, rags and old paper. Ordi- 
nary newspaper stock, as well as some of the cheaper grades of book and 
wrapping paper, is made from a small percentage of wood pulp and a 
heavy percentage of mechanical wood filler. The medium and better 
grades of printing and book paper are made entirely from wood pulp, 
or rags, or a mixture of rag and wood pulp. The most used woods are 
spruce, hemlock, chestnut, poplar and pine. As is true of all other 
manufactured goods, the quality of the materials used and the care 
taken in the manufacturing processes determine the inferior or superior 
qualities of the finished product. Good clean water in large quantities 
is also an important requisite, as, for illustration, it is estimated that 


*Square halftone, no line, 133 line. Made from a retouched and “faked in” photograph. 


626 


KINDS OF PAPER 


COMMERCIAL ENGRAVING AND PRINTING 


Absorbent Coupon Lining Sack—Cement 
Album Cover Lithograph Sack—Charcoal 
Anti-rust Cracker Shell Board Litmus Sack—Sugar 
Anti-tarnish Crepe Loft-dried Safety 
Asbestos Crinkled Loose-leaf Sand 

Backing Board Decorating Luminous Saturating Feit 
Bag Document Manila Macaroni Screening 
Bank Note Drawing Manifold Sheathing 
Bible Drug Manila Shield Boards 
Binders Board Duplex Map Shoe Boards 
Black Duplex Board Mat Board Shoe Tissue 
Blanks Easel Board Matrix Signal 
Blotting Egg Case Board Metallic Sign 

Bogus Electric Board Milk Bottle Cap Silk Wrappers 
Bond Envelope Mill Boards Silver Tissue 
Book Express Mill Wrapper Slate 

Bottle Wrapper Felt Mimeograph Starch 

Box Filtering Mounting Stencil 

Box Board Flour Sack Music Stereotype 
Box Covering Friction Board Napkin Strawboard 
Bristol Fruit Wrapping News Straw Wrapping 
Buggy Board Furniture News Board Sulphite Boards 
Building Glassine Novel Superfine 
Building Board Glazed Oak Grained Tablet 
Butchers’ Manila Grass Bleached Offset Tack 

Button Board Grease Proof Oil Tissue Tag Board 
Carbon Tissue Gummed Oil Board Tar Board 
Card Board Halftone Onion Skin Telegraph 
Card Middles Ham Oyster Pail Board Template 
Carpet Lining Hanging Packing Textile 
Cartridge Hard Fibre Paper Stock Board Text 

Cash Register Hardware Papeterie Ticket 
Catalog Heavy Wrapper Papier-mache Tissue 

Chair Seat Board Healing Parchment Tissue Manila 
Cheviot Ice Cream Pail Paraffin Tobacco 

Chip Board Board Patent Coated Toilet 
Cigarette Indented Boards Boards Toweling 
Cloth Board Indurated Pattern Trunk Boards 
Cloth Lined Ingrain Wall Paper Pattern Boards Tube Boards 
Coated Book Insulating Photographic Tympan 
Coated Box Board Interleaving Photogravure Typewriter 
Combination Board Jacquard Board Photo Mounts Vulcanizing 
Condenser Jute Board Picture Board Vellum 

Cone Jute Manila, Press Board Wagon Boards 
Container Board Kraft Pulp Board Wall Paper 
Coptube Label Rag Wrapping Water Proof 
Copying Leather Railroad Copying Waxed 
Corrugated Ledger Railroad Manifolding Wedding 
Cork Lined Board Railroad Manila Sulphite 
Cotton Batting Linen Record Wall Board 
Cotton Sampling Linen Finish Roofing Wrapping 
Counter Board Lineoid Rope Writing 


Fig. 1866. The principal kinds of papers. 


from 50,000 to 75,000 gallons of water is used in the various steps in 
making of a ton of rag paper. 


PREPARATION OF WOOD BY THE MECHANICAL PROCESS 


Wood is converted into pulp by one of two processes, the chemical 
process or the mechanical process. If by the mechanical process, the 
logs, which will average about twelve inches in diameter, are shipped 
to the mill, cut into lengths of about four feet, and the bark removed. 
There are different methods of removing the bark, but drums of a 
revolving type are in use by the larger mills. These drums are about 
ten feet wide and fourteen feet in diameter and have a capacity of from 
five to seven cords. The wood, carried to them by conveyors, tumbles 
about in them as they revolve and after about two hours they are 


Pages 625 to 640, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


PAPER 627 


Square halftone, 150 line, no line. Made from an unretouched photograph. 


Fig. 1867. Wood as received at the mill. 


stopped and the wood dumped onto a chute which guides it to a pond. 
The wood is sorted as it is taken to a platform, that free from bark is 
then sawed into shorter lengths and carried to the grinders or chippers, 
the rejected going again to the barking drums. The bark as it is re- 
moved is conveyed to a bark press where the water is pressed out of it 
and it is then used for fuel under the boilers. 

The blocks, usually about twenty-four inches in length, are ground 
into a mass resembling sawdust by bringing them in contact with large 


Courtesy Fibre Making Processes, Inc., Chicago 


Fig. 1868 is a square halftone, 133 line, no line, and was made from a black on India halftone print. Fig. 1869 is a 
line etching on zinc and was made from a dark blue on India print from a line etching. 


Fig. 1868. Fig. 1869. 
A barking drum. 


628 COMMERCIAL ENGRAVING AND PRINTING 


Courtesy General Electric Co., Schenectady, N. Y. 
Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1870. A four-pocket pulp grinder. 


grindstones. These stones measure from four to five feet in diameter 
and have a face of from two to four feet. The cases in which the stones 
are enclosed are provided with pockets or hoppers into which the blocks 
are placed and by hydraulic pressure are forced against the stone. 

A constant flow of water reduces this mass to the form of pulp, 
which flows into a pit or tank underneath the grinder, after which it is 
screened to free it from splinters and chips and is then run through a wet 
press machine, which presses it into sheets for shipment to the paper 
mill in case the pulp is not made into paper at the pulp mill. These 
sheets are broken up at the paper mill by a beating engine and reduced 
to pulp, the quality of which depends largely on the coarseness or 
fineness of the surface of the stones on which it was ground. The wood 
is usually ground while it is green and the blocks from logs of large 
diameter are split before going to the grinder. 

Ground wood pulp is not used in the manufacture of the higher 
grades of paper because of its coarseness, but is largely used for news- 
paper and the coarser grades. Ground wood pulp contains all of the 
chemical elements of the wood, such as the resin, gum, etc., and the 
fibres are short and inflexible to such an extent that pulp made in this 
manner does not have the proper felting properties for the better grades 
of stock. Papers made of it become brittle, lose strength and discolor 
very rapidly. 

PREPARATION OF WOOD BY THE CHEMICAL PROCESS 

Reduction of wood to the pulp by this process is accomplished 
mostly through the use of chemicals; two methods being in common 


use. One is the so-called sulphite method, in which the re-agent used 
is sulphurous acid and lime; the other and older is the soda process, 


PAPER 629 


in which caustic soda softens and separates the fibres. The chemical 
process permits the fibres to become much finer than in the mechanical 
process. 

Two processes are included in the sulphite method; the high pressure 
system, in which strong solutions of the chemical re-agents are used 
under high pressure in the digester; and the slow process, where the 
time required is much longer and the pressure in the boiler is not so 
great. Different qualities of pulp are made by the two processes and 
it is possible to make many different kinds of pulp by each of the two 
methods. Great care must be used in the proportions of materials and 
time used so as to maintain the standard of the mill. 

Up to the point where the blocks are ready for the grinder, the 
chemical process is the same as the mechanical, with the exception that 
in the manufacture of the highest grades of pulp, the knots are bored 
out of the logs. Instead of being ground, the blocks are put through a 
chipping machine and are reduced to small chips. These chips are then 
disintegrated by passing through a crusher and are then screened to 
enable the chemical solution to more thoroughly penetrate the material, 
and are then conveyed to the chip bins and from there to the digester. 

Sulphite of lime liquor is then introduced and the resulting mass 
boiled together, removing lignin, resin, etc., and thoroughly separating 
the fibres. Then by a series of screening and washing processes it is 
freed from acid and other foreign substances when the bleach, chloride 
of lime or bleaching powder, is added. After the pulp is carefully put 
through these operations, it is ready for the beater, unless it is to be 
shipped from the pulp mill to a paper mill, in which case, it is rolled 
into sheets, dried and packed for shipment. 

The soda process is a general term applied where sulphite of lime is 
not used, caustic soda being the usual substitute. 


Courtesy Carthage Machine Co., Carthage, N. Y. 
Outline-vignette halftone, 133 line. Made from a sligntly retouched photograph. 


Fig. 1871. Open view of chipper. 
Inside diameter of feed spout 1914 inches. 


630 COMMERCIAL ENGRAVING AND PRINTING 


Courtesy American Welding Co., Carbondale, Pa. 
Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1872. Digesters in which wood pulp is cooked. 


Many different kinds of pulp are manufactured from wood. The 
kind of wood used, the strength of the liquor, the pressure applied in 
the digester, the length of time of the cooking and the beating all have 
to be taken into consideration when pulp is selected for certain kinds of 
papers. One kind will work up well for one paper and would be imprac- 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1873. Bales of the better grade of rags as received by a paper mill. 


PAPER 631 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


*Fig. 1874. A rag sorting room. 


tical for another. As much care is necessary for the selection of the 
proper constituents for suitable wood pulp as in the selection of rags for 
rag pulp. 

CLEANING AND PREPARATION OF RAGS 

It is asserted that paper made of rags will outlast paper made of any 
other material and that a deed made on rag paper by King Roger of 
Sicily, 1106, A. D., is the oldest piece of paper in the world. While a 
few paper-makers use new, clean rags, from shirt, collar, underwear 
and similar factories exclusively, in the manufacture of high grade 
writing papers, these having the original strength of fibre, the majority 
use rags that are collected from every source and from all parts of the 
world by the “rag man”’ and sold to the paper mill in bales of about 
1,000 pounds each. 

These rags when received at the mill are unassorted, dirty and full 
of foreign material. They are thrown into a large cylindrical recep- 
tacle called a “thrasher.”” The thrasher is equipped with long wooden 
arms or beaters, which pound and thrash the rags, loosening the dirt 
and beating out the dust which is carried off by suction air tubes. 

From the thrasher, the rags are taken to the sorting room where 
they are sorted as to size and condition, different kinds requiring dif- 
ferent treatment for making into pulp. Black and red rags with fast 
coloring are unsuitable for the manufacture of the better grades and 
are sorted and used in the making of other kinds. Except in the manu- 
facture of building papers, felts, and similar products only cotton and 
linen rags can be used. The woolen rags must be sorted out. These 
are either sold to mills making felts, or to manufacturers of “shoddy ”’ 


*The photographs from which the halftones were made for Figs. 1873, 1874, 1875, 1876, 1877, 1878, 1880, 1889 
1890, 1894, 1900 and 1921, were kindly loaned by the American Writing Paper Company, Holyoke, Massachusetts. 


632 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1875. A rag cutter. 


cloth for clothes. Hooks and eyes, buttons and foreign substances are 
removed by drawing the rags along scythe-like blades mounted point- 
up on the sorting benches. 

After the rags are thus freed from foreign substances, they go to 
the cutter, a machine which chops them into small pieces by means of 
revolving blades. The manner in which the rags are cut plays a very 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1876. Dusted rags. The dusters are within the small 
house-like structures in the rear. 


PAPER 633 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1877. The bleach boilers. 


important part in the finished paper. Here, too, they lose a part of 
their dust and dirt. 

From the cutter, the rags go to the ““‘whipper” for a further cleans- 
ing. The whipper is a large, hollow cone with spikes projecting inward 
against which work the spikes of an inner drum, thus loosening, al- 
though not dislodging, all of the dirt and dust. 

The rags, now cut in small pieces, go through the final preliminary 
cleaning process in a machine called the ‘‘duster.”” The duster is a 
large cone-shaped, revolving sieve in which the rags are tossed and 
shaken about, the loosened dirt and dust being carried away by suction 
tubes and the rags coming out clean as far as is possible by dry-cleaning. 

The dust from the rags is sold to the manufacturers of the cheaper 
and coarser grades of paper, such as is used for roofing materials, etc. 

From the duster, the rags are carried on an endless belt to the 
bleach boilers, being carefully inspected on the way to detect unchopped 
pieces, buttons or other foreign substances. 

The bleach boilers are large revolving containers, holding as much as 
five tons. After the rags are fed into this machine, it is sealed and 
they are boiled in a solution of lime and soda from twelve to fourteen 
hours. In this first cooking process, all the coloring and glutinous 
matter as well as dirt is thoroughly loosened from the fibre. 

After the rags leave these boilers, the dirt and color are allowed to 
drain off the mass of cooked rags. From the drain, they then go to the 
‘“‘washers’’—oval-shaped tubs—where the final cleaning and disin- 
tegrating process takes place. The washer is a large oval tub in one 
side of which there is a roll equipped with blunt bars which brush 
against similar bars in the bottom of the tub. As the dirt is separated 
from the fibre it is removed by continually running water into one side 
and which is discharged with the dirt through the octagonal drum on 
the opposite side of the washer. After washing, the bleach or bleaching 


Pages 625 to 640, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


634. COMMERCIAL ENGRAVING AND PRINTING 


wer Os ee 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1878. A pulp washer. 


powder, as it is sometimes called, is added. Bleaching powder, usually 
chloride of lime, is as the name implies, used to whiten the stock. 

The white, swimming mass of fibre which is the result of the fore- 
going cleaning processes is now called “half-stock.”’ Up to this point 
about 35% of the original volume has been lost in cleaning. 

From the washer the “‘half-stock”’ is transferred to drainers, which 
are cellar-like compartments with perforated brick floors, and allowed 
to drain for a week or more. Then it goes to the beater where it is 
reduced to pulp. The beaters are very similar in appearance and opera- 
tion to the washers. 

Old rags, after cleaning, do not require as much beating as new, as 
the fibres have been softened through previous use, washings and 
scourings. 

PREPARATION OF GRASS FIBRES 


In the preparation of flax, hemp, manila, jute, esparto, bamboo, 
bagasse, straw and other grass fibres, the fibre is separated from the 
waste material and reduced to pulp by processes of cooking, washing 
and beating similar to those used in the preparation of rags for pulp. 
The stronger fibres are used in papers where strength and toughness 
are required. If these fibres are used as the body of the material, the 
process begins with the digester and from that point follows the same 
route as paper made from rags. White pulp cannot be made from jute, 
because the tannin-like bodies distributed throughout the mass of fibre 
will not bleach. 

PREPARATION OF PULP FROM PAPER 


Old paper stock is used extensively in the manufacture of pulp, the 
paper being collected and baled in much the same manner as old rags. 
Clean cuttings from the trimming of books, magazines, etc., have a 


PAPER 635 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 
*Fig. 1879. A row of pulp beaters. 


greater value than scrap or old paper that has been printed. Linen 
and bond papers of high grade, of course, have a greater value than the 
cheaper grades of book or coated stocks. The clean and unprinted of 
these used in new pulp may begin with the digester or beater and follow 
the same route as pulp made from raw stock. Old newspapers, some of 
which are de-inked before using and some are not, are used for making 
the cheaper grades or for fillers and their use in the process begins with 
the beater. The value of enamel coated stocks for re-making into pulp 
is greatly diminished because of the presence of the clay used in coating 
and the difficulty of separating this from the fibre before re-using. 


THE BEATER 


The making of paper proper begins with the beater, which is of vat- 
like construction, and which thoroughly separates the fibres and reduces 
them to a thick, creamy mass. The quality of the paper depends 
largely upon the fibres used and upon the amount of beating they 
receive in this machine, blottings and antiques requiring less than books, 
writings, etc., because of the softer stock used. Prolonged beating 
of hard or strong tough stock usually adds to the strength of the sheet 
but it can be overdone. Here it is that sundry materials are added for 
sizing, loading, etc., and different fibres are mixed, if the paper is to be 
made partly of rag and partly of wood. Here, also bluing is added for 
the white paper or the coloring for colored paper. Considerable skill 
is required in adding the coloring matter to secure a uniform color 
throughout the mass, as well as holding to the mill’s standard shades. 

The length of the fibre does not necessarily determine the strength 


*The illustrations for Figs. 1879, 1884, 1885, 1891, 1896 and 1899 are shown through the courtesy of the Crocker- 
McElwain Co., Holyoke, Massachusetts. 


636 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1880. A Jordan or refining engine. 


of the sheet as the strongest sheet may be obtained from short fibres 


that felt well. 
From the beater on to the completed sheet, the process is practically 


the same whether the raw material is rags, wood, grass fibres or old 
papers. 


Square halftone, 150 line, no line. The photomicrographs were grouped and the halftone made from the group. 
The white lines between the views were cut on the plate. 


Fig. 1881. Ground wood. Fig. 1882. Sulphite. Fig. 1883. Rag fibre. 
Photomicrographs of paper-making fibres. Magnified about 75 times. 


Square halftone, 133 line, no line. Made from a retouched photograph. 


Fig. 1884. The wet end of a Fourdrinier paper machine. 


THE JORDAN ENGINE 


From the beater, the pulp may go to the Jordan engine, which is 
really another form of beater. 

This machine is a cone-shaped cylinder with a roll inside the same 
shape as the cylinder. The roll, covered with blunt knives, revolves 


BO 00. an, 900 8G 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1885. The finishing end of a Fourdrinier machine. 


638 COMMERCIAL ENGRAVING AND PRINTING 


Courtesy JOSS. Flank S27 Co, Appleiom Wis. 
Outline-vignette halftone, 133 line. Made from an unretouched photograph on which the vignette was painted. 


Fig. 1886. A model showing construction of a dandy roll. 


in the cylinder which further separates the fibres and refines the pulp 
for the better grades of stock, before going to the stuff chest. 


THE SIUFF CHES? 


The pulp may go directly from the beater to the ‘“‘stuff chest,” 
which is a large circular vat, partly filled with water. In this vat, 
the pulp is continually turned about by a large dasher or agitator, 
mixing the fibres with water and keeping them suspended therein. 
In its present state, the material is designated as ‘“‘stuff.” From the 
stuff chest, the material flows to the wet end of the Fourdrinier or 
cylinder paper machine, directly into the regulating box which feeds 
the ‘‘stuff’’ with the greatest accuracy as to volume into a second box 
where about 50% water is added, thinning the mixture until it re- 
sembles skimmed milk in appearance, the water being added simply 
as a Carrying agent. 

Flowing from this box, the mixture passes in a continuous stream, 
regulated in size according to the weight of paper to be made, over 
sand-tables, which are little troughs with felt-covered cross pieces or 
baffle-plates and magnets to catch any sand or dirt that may remain in 
the solution. From the sand tables the flow is forced through the vi- 
brating screen, a horizontal piece of metal with very small slits, some- 
times only one one-hundredth of an inch in width and a quarter of an 
inch apart. Through these slits the fibres must find their way, leaving 
behind lumps and knotted fibres which would mar a perfect sheet of 
paper. From the strainer the solution flows out in a thin sheet on to a 
moving wire screen at the head of the paper machine. 


THE WIRE AND DECKEL STRAPS 


A gate regulated to insure perfect evenness and to fix the fibres on the 
web uniformly, permits the stream to flow upon an endless belt of wire 
cloth with nearly 5,000 meshes to the square inch and extending the 
full width of the paper machine. Deckel straps of India rubber about 
two inches square are fastened on either side of the screen and move 
at the same speed with it, thus holding the watery pulp in place and 
fixing the width of the sheet. 


Square halftones, 150 line, no line. The halftone negatives were made direct from the sheets containing the water- 
marks, the arc lights being so placed during the exposure as to show the transparency of the paper. 


Fig. 1887. Made with a dandy roll on Fig. 1888. Made with a dandy roll on 
which the design was in relief. which the design was sunken. 


Watermarks as they appear in the paper when held to the light. 


As the stream flows on the endless belt of wire cloth, the water 
filters through into a trough underneath. A shaking motion is im- 
parted to the wire from the frame and this aids in draining away the 
water, distributes the fibres evenly and mats or interlaces them together 
into a tougher web than would otherwise be possible. The more per- 
fectly the fibres are interlaced and matted, the better the grade of 
paper. 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1889. Another view of wet end of paper machine. A, belt of bronze 
wire; B, deckle straps; C, dandy roll; D, couch roll. 


640 COMMERCIAL ENGRAVING AND PRINTING 


THE DANDY ROLL AND WATERMARKING 


Before the water entirely drains away, the moving screen with the 
. web of pulp passes under the dandy roll, which smooths down the 
surface of the paper while still in formation, and if the paper is to be 
watermarked the roll is made to carry a design on its surface, which 
as the roll turns, is pressed on to the surface of the sheet of pulp, with 
just sufficient force to leave an impression. The sheet is clarified and 
left more transparent, or thickened and made more opaque where it 
has come into contact with the dandy roll; thus the impression left is 
permanently fixed, and is known as the watermark. 

There are a number of methods of preparing the dandy roll for 
watermarking, or otherwise impressing a design on the paper while in 
course of manufacture. 

In many of the mills today, the dandy roll is made by soldering, or 
sewing, the design of the watermark—entirely in outline—in relief to 
the wire cloth covering of the roll. This is a somewhat expensive 
process, on account of duplicating the design to fill the roll, and one 
which somewhat limits the use of complicated and intricate designs. 
While the roll is as long as the machine is wide, its circumference, if it 
carries a watermark, is made to register the design in the proper place 
on the sheet. 

The Drury process differs from the method first mentioned, in that 
the watermark is produced by an intaglio, or sunken, design, attached 
to the dandy roll. The pulp in passing between the machine wire and 
the roll is squeezed into the depressions, causing a slight thickening of 
the pulp. This permits the production of either an outline or shaded 
effect, or a combination of both. 

In this process, it is not necessary to have a separate dandy roll for 
each individual watermark, as, in connection with a patent inter- 
changeable body, a change of design is quite simple and inexpensive, 
and it is practical to run different designs on the roll at the same time. 

The Nash process is a method of automatically stamping the design 
on the moist sheet of paper, with a die made from wood, hard rubber or 
metal, the device usually being operated by compressed air. 

In the Brown process, also, the watermarking is done after the sheet 
has taken definite form. The metallic design plate—under which is a 
resilient pad to equalize the pressure—is attached to a pressing roll or 
cylinder, which is forced against a backing roll, impressing the design 
on the moving paper. 

The Whitton process provides for the use of a pair of cylinders, 
located forward of one of the first of the drier drums, and the impres- 
sion is obtained by passing the web of paper between these cylinders 
on the face of one of which are the design forming surfaces. 

Watermarking is sometimes imitated by impressing a design on 
the paper, after it has left the mills, by means of line etchings, or by 
printing it in a very light tint. These imitations can be very readily 
detected by the impression that may be observed on the reverse side of 
the sheet, as well as by the sharpness of the imprint. 

Many of the mill watermarks are well known wherever paper is 
used and are regarded as a guarantee of quality and uniformity. 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1890. Heated drying drums over and around which the web of paper 
passes from the wet to the finishing end of the machine. 


Specially watermarked paper also possesses an element of safety, being 
used for many important financial papers, and by some foreign govern- 
ments for printing bank notes. Practically every jobber sells several 
papers, bearing his own special watermarks, thus giving a distinctive- 
ness to his lines for advertising purposes, as well as standard of quality. 

Many individuals and firms, who use stationery in sufficiently 
large amounts to enable them to have their orders shipped directly 
from the mills, have their paper watermarked with special designs. In 
buying privately watermarked paper, there is always an additional 
initial expense for the dandy roll; the cost depending upon the nature 
of the design, and the method to be used in watermarking. The mills 
will accept orders, through jobbers, varying in quantity from one 
thousand pounds up, depending upon the quality of the stock and the 
particular process of watermarking they use. One thousand pounds of 
stock, 17 x 22, No. 20, is equivalent to 100,000 letterheads, 8% x II. 

An extra charge is made for localizing the watermark, when it is to 
appear in a certain position in each sheet. 


THE PRESS ROLLS AND DRYING CYLINDERS 


As the traveling screen emerges from under the dandy roll, a strong 
suction is produced beneath the screen and the remaining water dis- 
appears, being drained down through the meshes and the mass of fibre 
is developed into a solid woven sheet which looks like a damp piece of 
blotting paper. This endless sheet travels from the screen on to a con- 
tinuous and seamless belt of moist felt, which is as wide as the machine. 
The paper is yet too fragile to travel alone and the wet felt carries it 
between two metal rolls. These squeeze out more of the water, give a 
greater degree of compactness to the fibres, smooth the upper surface, 


Pages 641 to 656, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


642 COMMERCIAL ENGRAVING AND PRINTING 


and finally deliver the web of paper to a second, and sometimes a third, 
felt apron which carries it along and to the back of the second press 
rolls. In this way, the under surface comes to the top and it in turn Is 
subjected to the smoothing process. 

From this point, the paper travels alone, having become firm 
enough to stand its own weight. Passing above the second press rolls, 
it resumes its onward journey to the second half of the machine, or the 
drying cylinders, passing over and under, and over and under, that 
both surfaces of the web may come in contact with the cylinders. 

There are twelve to a hundred of these drying cylinders, their 
number depending upon the character and weight of the paper being 
produced, very heavy sheets requiring more drying cylinders than 
sheets of lighter weights. These are hollow cylinders, heated by steam, 
measuring from three to four feet in diameter and in length according 
to the width of the machine. 

A canvas felt is used to assist in carrying the sheet around the 
dryers and to hold it firmly against their surfaces. The slower and 
more gradual the drying, the better. Large hoods over the dry end of 
the machine conduct the vaporized moisture out through the roof. The 
paper runs around the driers like a belt until it reaches the end of the 
machine, when it is perfectly dry, and may be regarded as finished for 
certain purposes. 

CALENDERING 


Upon leaving the dryers, the paper is carried through the calenders, 
consisting of a number of highly-polished, chilled-iron rolls, mounted 
one on top of the other. Usually five to ten rolls constitute a stack, 
and according to the finish required, one, two or three stacks of calen- 
ders are used in succession. The calenders may be either solid steel 
rolls run cold, or hollow steel rolls heated by steam, depending upon 
the character of the paper in manufacture. When the solid cold rolls 
become too warm from friction, they are cooled by cold air. The 
calenders are accurately ground, varying not more than a thousandth 
of an inch and their combined pressure often amounts to as much as 
two hundred tons. 

There are several types of calenders used in finishing the different 
kinds of paper, such as super-calenders, sheet calenders, friction 
calenders, etc. 


WINDING, SLITTING AND CUTTING 


After the calenders, the sheet is reeled up on a two, or more, drum 
reel. While the sheet is reeling up on one drum, the finished paper on 
the other drums is unreeled and, if to be used in the width as finished by 
the machine, is rewound into rolls of the required size. Or, if to be 
used in narrower widths than made by the machine, the web is passed 
over slitters as it is rewound and cut into strips of the required width. 
Slitting and rewinding operations are not confined entirely to paper 
mills, as they are used extensively in finishing roll paper for use on 
various machines printing from the roll, automatic wrapping machines, 
recording and adding machines, etc. Papers that reach the consumer 
in sheets, whether delivered as finished by the paper making machine or 
after other special finishing operations, are cut into sheets from the roll 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1891. The wet end of a cylinder paper machine. 


by passing under revolving knives. These revolving knives are some- 
times made to operate with the slitters and can be adjusted to cut sheets 
of different lengths from the different widths at the same operation. 

Paper machines are built for producing sheets of certain width, 
their width varying from about 30 inches to nearly 200 inches, depend- 
ing upon the quality, thickness and quantity of the finished product 
desired. The widest machines are used for making news and lower 
grades, the medium widths for the better grades and the narrower 
machines for the highest grades and specialties. 

The speed with which the paper passes through the paper-making 
machine and calenders is remarkable, it not being unusual for it to 
travel at a rate as high as four to six hundred feet per minute, the 
speed depending on the kind of paper being made. 


Gourley The Black-Clawson Co., Hamilton, Ohio 
Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1892. Six cylinder board machine complete. 


From left to right: Cutter and slitter, winder, calender stacks 
dryer section, squeeze and press parts and vats. 


644 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 150 line, no line. Made from unretouched photographs. The halftone negatives from the three 
views were stripped together. 


Fig. 1893B. Coating, drying and re-winding coated paper. 


THE CYLINDER MACHINE 


The cylinder machine is practically the same in its operations as 
the Fourdrinier just described, except at the wet end. Here, a cylinder 
covered with wire cloth revolves with its lower part dipping into a vat 
of pulp, and by suction a partial vacuum is maintained in the cylinder, 
causing a film of pulp to cling to the wire from which it is conveyed 
to a felt which takes it up and carries the sheet on in a manner similar 
to the Fourdrinier machine. The cylinder machine is used in the 
making of cardboards, strawboard and other heavier cheap papers and 
frequently for tissue papers. 


PAPER MILLS SPECIALIZE IN THEIR PRODUCT 


Most every mill has been designed, built and equipped for pro- 
ducing a certain kind of paper, or a limited number of kinds, as for 
instance: news, book, writing, etc., thus specializing on a certain prod- 
uct. The equipment is also so located that the material, from the raw 
state to the finished product, moves mechanically, and much of the 
time continuously, from process to process. The amount of output 
depends on the nature of the product as well as the size and number of 
machines installed, and which are, of course, always supported with 
sufficient pulp producing equipment to adequately supply their 
capacity. 

ENAMEL COATING 


To secure the highest finish, the paper is enameled or coated on one 
or both sides with a mixture of clay and glue made of casein, which fills 
up the pores and gives a very high gloss to the surface. Casein is pre- 
pared from skimmed milk by treatment with dilute acid. The whey 
resulting is washed, dried and marketed in the form of a yellowish 
powder. The clay used i is pure kaolin or china clay which is ground to 
the fineness of wheat flour and mixed with the solution of glue to about 


PAPER 645 


Views in the mill of The Champion Coated Paper Company, Hamilton, Ohio 


the consistency of milk. A roll of paper ready to be enameled is placed 
before the vat which contains the coating solution. The end of the 
paper web is passed under a wooden roller hung in the vat, the purpose 
of which is to insure an even tension and uniform immersion of the web. 
Upon leaving the vat, the paper passes between two rollers that regulate 
the distribution of the coating upon the paper. From these rollers, 
the web passes through two sets of brushes, one above and one below, 
both working back and forth transversely upon the top and bottom of 
the paper. Each set consists, first, of a coarse, then an intermediate, 
and then finally extremely delicate brushes made usually of camel’s 
hair, which work out all small lumpy particles and overcome any 
tendency to uneven coating. Upon leaving the brushes, the paper 
is carried along for about one hundred feet on blasts of hot air from 
ducts underneath to an automatic carrier, consisting of wooden slats 
fastened at intervals upon two endless chains that pass at either side of 
the machine. As the paper reaches the slats, it falls upon one, which, 
by an ingenious device, carries it forward and upward, permitting the 
coated web of damp paper to fall in long loops or folds. Succeeding 
slats follow upon the carrier at regular intervals and prevent any mar- 
ring of the damp surface by keeping it from direct contact. The carrier 
conveys the paper in this form through a drying room, after which it is 
re-rolled upon reels and then finished by being passed rapidly between 
steel, paper or cotton rolls as in the ordinary method of calendering. 
For the highest finish, the rolls are set closer together, giving greater 
pressure and if desired, the web can be put through this process a second 
or third time for double or triple coating. Dyes are added to the coat- 
ing mixture for tints or colored papers. After calendering the paper is 
cut into the size required. Coating is a special department of paper 
making. Many mills do not make the paper they coat but others both 
make the paper and coat it. 

In coating only one side of the sheet the coating solution is applied 
and regulated by a traveling felt in connection with a large cylinder 
and the process of drying and finishing are the same as in coating 
both sides. 


646 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 


Fig. 1894. Dry end of a paper machine, slitting, sizing 
and cutting the web into sheets. 


It may interest the reader to know that the sheet of paper on which 
this page is printed was coated on the machine shown in Fig. 1893. 
While this illustration is in three views, they all are parts of the same ma- 
chine, the view at left being of the coating room, that in the center of 
the drying room and that at the right of the mechanism for re-winding 
the paper after it is coated and dry. 


Courtesy the Cameron Machine Co., Brooklyn, N. Y. 
Outline-vignette halftone, 133 line. Made from a photograph of a retouched photograph. 


Fig. 1895. Cameron slitting and rewinding machine. 


PAPER 647 


Courtesy General Electric Co. and Strathmore Paper Co. 
Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1896. Super-calendering machine. 


SIZING 


For higher grades of book and the lower grades of writing paper, 
vegetable or “‘engine sizing”’ is added to the stock in the beater. Sizing 
is a composition, resin dissolved by cooking with soda ash, to make the 
finished product more impervious to moisture. Without the sizing, 
the sheet would be porous and absorbent and ink would be readily 
absorbed as with blotting paper, and would not be suitable for printing 
or writing purposes. Clay is sometimes mixed with the sizing solution, 
giving the paper more body and enabling a higher finish to be given it. 


Square halftone, 133 line, no line. Made%from a slightly retouched photograph. 


Fig. 1897. Machines for cutting the webs into sheets. 


648 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 133 line, no line. Made from a slightly retouched photograph. 
Fig. 1899. Sheet platers. 


High grade writing: papers are treated with what is known as animal 
sizing, or ‘‘tub sizing,” where a solution of animal gelatin is added just 
before the paper goes to the cutter. The sizing is introduced by passing 
the moving sheet under a large roll partly immersed in the solution of 
gelatin or glue, which gives the paper a very durable, hard writing 
surface. 

SUPER-CALENDERING 


When paper with a particularly high or glossy surface is desired, 
it is subjected to an additional process known as super-calendering. 
This is effected by passing the paper through a stack of rolls similar to 
the machine calenders, composed of different sizes of metal cylinders, 
or alternating metal cylinders with rolls made of solidified cotton or 
paper. The paper passes and re-passes through these calenders at high 
speed until the desired smoothness and polish have been acquired. 

A number of finishes may be acquired by this method, depending 
on the kind of rolls used and the amount of pressure put on the paper. 
A few mills are equipped for making what is known as “ English Finish.” 
This requires special super-calenders with large steam-heated rolls, 
alternating with hard paper rolls and the pressure put on the paper is 
not so great as with other kinds. The particular advantage of this kind 
of stock is that the life of the fibre is not squeezed out and consequently 
it is not so brittle as other kinds and is especially adapted to folding. 


PLATING 


In the manufacture of some of the high grades, such as linens and 
bonds, where an especially smooth surface is required, the sheets, after 
being cut, are arranged in piles of from twelve to fifteen sheets, plates 
of zinc are inserted alternately and the pile i is then placed ona plating 
machine, which has much the same action as a huge wash wringer. 
As the pile of paper is run underneath this heavy revolving steel roll, 
the roll squeezes the pile together so tightly that the rough surface of 
the writing paper is pressed against the hard surface of the plating 
sheet, so that the writing paper itself becomes smooth and is reduced 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1900. A drying loft. 


in bulk. This operation may be varied somewhat by placing these 
sheets under a powerful hydraulic press. The resulting finish is known 
as smooth satin finish and is, of course, much more expensive than 
super-calendering. 


LINEN AND OTHER SPECIAL FINISHES 


To produce a fabric finish, linen or crash cloths are placed between 
the sheets, beneath and on top of the pile, and with a zinc plate above 
and one below the pile it is run through a press in the same manner 
as plating. Due to the pressure, the fabric of the cloth is transferred 
to the surface of the paper, giving it the fabric finish so desirable asa 
writing surface. Similar methods are employed to obtain the ripple and 
embossed effects. Surface colors are put on by running the web over 
a felt covered drum, part of which is immersed in a color vat. 


LOFT DRYING 


The better grades of writing, linen, bond and ledger papers are loft 
dried. The sheets after being sized are hung on poles or cords in a 
drying room, the air of which is sometimes warmed to hasten the 
evaporation of moisture, although a slower process is productive of 
better sizing. 

DECKEL EDGE 


A ragged or deckel edge, such as is used extensively for high class 
book and booklet work, is obtained by playing a stream of water, 
during the process of manufacture, on the edge of the sheet of pulp, 
crushing and thinning it and giving it a jagged, feathery edge. The 
sheet as it comes from the machine must be cut into required lengths, 


Pages 641 to 656, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


650 COMMERCIAL ENGRAVING AND PRINTING 


and which, of course, prevents deckel on more than two sides of the 
trimmed sheet. It is possible, of course, to obtain a deckel on all four 
sides of sheets made by hand. An imitation deckel edge is sometimes 
obtained by tearing the sheet instead of cutting, but results are not 
always pleasing, and it is not practical except for small quantities. 


NEWS 


News paper was formerly made almost entirely of rags, but after the 
introduction of the sulphite process, this product, as well as ground 
wood, was added to the rag pulp asa filler. It is now made for the most 
part from mechanical wood pulp with the addition of only enough sul- 
phite spruce fibre to permit it to be made up and printed. In the 
present day news papers, twenty-five per cent. or less of sulphite pulp 
supplies sufficient fibre to carry seventy-five per cent. or more ground 
wood filler or mechanical wood. This is done to effect economy in 
materials as the ground wood pulp costs less than any other material 
entering into the sheet. News is supplied in white and in colors, its 
use being chiefly for newspapers, posters, hand-bills, cheap booklets, 
etc. It can be secured in different grades in rolls or in flat sheets. The 
No. 1 grade is made of ground wood, is evenly formed and fairly clean 
in appearance, while the No. 2 grade, also made of ground wood, is 
dirty and has little strength. Colored news is usually the No. 2 grade 
colored. The standard sizes in sheets, usually carried by jobbers are 
24x36, 27X41, 28x42, 30X44, 35X45, 35x48, 38x48, 42x56, and special 
sizes may be obtained on mill shipments. The minimum basis is 24x 
36-33. Rolls (mill shipments) may be had in any width up to the 
capacity of the machine on which it is made. 

Line etchings from pen drawings, coarse wood engravings and 
halftones coarser than eighty-five lines are best for this class of paper. 


EGG SHELL, ANTIQUE AND LAID FINISH 


When a rough or antique finish is desired, the calendering is omitted. 
The paper retains its rough, bulky and unfinished surface, and has a 
soft, velvety feel. It is usually designated as egg shell, antique wove, 
or antique laid; these titles indicating the character of the surface. 
In the process of manufacture, wove paper is made on a dandy-roll, 
with surface of plain, fine wire screen and has no grain or figure except 
possibly a water-mark to indicate the brand. Laid paper is made on 
a dandy-roll of close parallel wires and the impression of these wires 
shows in the finished product. 

The materials used and the grades range from soda pulp and rags 
for the better bulking grades through the M. F. grades to No. 2 print. 
In printing on these papers, usually line engravings only are practical. 

There is such a wide range in the quality and character of egg shell, 
antique and laid finishes that it is impossible to lay down any fast rules 
as to what kind of halftones and engravings might be used successfully. 
The printing possibilities of any of these stocks depends on the stock 
itself, the kind of plate to be printed and on the facilities and ability 
of the printer. Many of the papers in these finishes may be used suc- 
cessfully for illustrations by lithography or offset, photo-gelatin, 


PAPER 651 


photogravure, steel die, copper plate and other processes. These 
papers may be obtained in white and colors in regular book and special 
sizes. Eggshell is used extensively for novels and books of this class, 
where only line illustrations and type are printed on it, the halftone 
illustrations being printed on coated stock and inserted. 


M. F. (MACHINE FINISHED) 


This is sometimes called S. & C., which means sized and calendered. 
The best grades known as “‘Extra’”’ are made of sulphite and soda 
pulp and have a clean bright appearance; the No. 1 grade is made of 
sulphite and old papers and is fairly clean; No. 2 is made from ground 
wood and old papers and No. 3 is made from ground wood. 

A good machine finished paper will permit the printing of halftones 
up to 100 line screen and on certain subjects, under favorable condi- 
tions, will give very satisfactory results with plates as fine as 120 line. 
It gives the best results with line etchings and wood engravings and is 
well adapted for rotary photogravure work. Being the least expensive 
of book papers, it is used largely for booklets and catalogs of the less 
expensive sort, where large editions are printed, and in a great many 
trade journals and class publications. 


S. & S. C. (SIZED AND SUPER-CALENDERED) 


This is a paper that is sized and super-calendered—that is, it has a 
gloss finish but is uncoated. It is made of the same materials as M. F. 
book, and some of the better grades are made extra strong, finished in 
imitation of enamel coated, etc. It is used for medium grade booklets, 
magazines, trade and class journals, etc. Line engravings, wood en- 
gravings and halftones of 120 to 133 line screen are best adapted to this 
quality of stock. It is also often called “super.”’ 


BIBLE PAPER 


Bible paper is the name applied to a number of thin book papers 
that possess lasting qualities, strength and are opaque. It was for- 
merly made from Esparto grass pulp for the most part, but a substitute 
is now on the market made of rags, which, while it does not possess all 
of the qualities of the Esparto paper, reduces the cost of such stock 
and is very suitable for booklets, catalogs, etc. It is usually made in 
eggshell, antique, machine, or calendered finish and in different weights. 
Medium screen halftones, wood engravings and line etchings are best 
suited to this sort of paper. 


ENAMEL COATED BOOK—GLOSS 


The materials used in making the base sheet are the same as those 
used in making M. F., the ‘‘Extra’’ grades being used for those that are 
heavily and finely coated, the No. 1 for regular coating and No. 2 for 
light coating. A rag base and long fibres are used in making folding 
enamels. 

This is a sheet made especially for the highest grade of halftone 
work, black and white or process color. The average fineness of the 
screen for use on the best grade of enamel coated stock is 150 line, al- 


652 COMMERCIAL ENGRAVING AND PRINTING 


though finer screens may be used on the very highest grades and coarser 
screens should be used on the lower grades. Line etchings and wood 
engravings may be printed also on this class of stock with very satis- 
factory results. It is not suitable for lithographing, offset or the intaglio 
processes. 

ENAMEL COATED BOOK—DULL 


This is similar in manufacture to the gloss enamel, except that in 
the finishing process, it is not given a hard or gloss finish. The logical 
objection that has been advanced to the use of gloss finish paper is that 
the reflected light is injurious to the eyes and makes the page hard to 
read, while this objection does not prevail with the dull finish. Dull 
coated enamel is satisfactorily used in the printing of deeply etched 
halftones of 120 to 133 lines, and 150 line screen may be used under 
best conditions. 


SIZES AND WEIGHTS OF UNCOATED AND COATED BOOK PAPERS 


The method of determining the sizes and weights of book papers has 
been greatly simplified by the introduction of standard sizes, stock 
base weights and the use of substance numbers. All weights are 
determined from the weight of a ream (500 sheets) in size 25 x 38 
inches as a basis and in substances (thickness) weighing 30, 35, 40, 45, 
50, 60, 70, 80, 90, 100 or 120 pounds per ream of 500 sheets. This plan 
makes it possible to easily and definitely determine comparative 
weights of one size with another. For instance, a paper is needed 
whose size should be 26x40 inches and it is wanted in the same weight 
as 25x38—50. In this case, 50 is the substance number and by refer- 
ring to the list of regular stock sizes and weights in Fig. 1901, the 
weight of the size wanted is readily determined, which is 55 pounds in 


this instance. 
BASE SIZE AND SUBSTANCE WEIGHTS 


25 x38in. 30 35 40 45 50 60 70 80 90 100 120 


en. ko ue 22 26 30 34 37 45 52:5 G0. yey 
24 x36 “ 27 -382-— 8G 41 45 BB 64 7S ee 
20° X88 * 30 35 40 45 50 60 “70° 80. 90 i030 
26 \x 29 “ 24 28 32 36 40 48 56° 964) S7o somes 
26 x40 “ 33 38 44 49 55 66 76 88 98 110 131 
Doig X aon of 643. «80 56 «62. 74. 86 OORT Ite ioieras 
28 x44 “ 39 45. 52 58 65 78 91 9104) 2iG = icGeel as 
29 x.b2-—6 48 56 63 V1 . 79. 95 . 111) S124 geiesee Gere 
303 x41 “ 40 46 53 59 66 79 -92 105.1103 ace 
o2 x44 « 44° 52 659° 67 74-89 104" 1195 ias eee 
od x46 “ 48 566 64 72 80 96 112 1298) 14a iGGo 
34 x44 “ 47 55 63 71. 79 95 110° 126-1403 oye 
35 x45 “ [0 58 66 75 838 100 116 132 149 16677199 
36 x48 “ 59: 64% 73° 82 91 109 127 14605164 ise 
38 x50 “ 60 70 80 - 90.100 120° 140° 160180 300-924) 
Ali xO lee 79 92 105 118: 132 158° 184°: 231-933 7eeee ee 
42 x 56 -“ 74. 87 . 99 111 124 149. 173 198 )o230noseeoo? 
44 x56 “ 78 91 104 117 130 156 182° 207) 233 5250mes 
44 x 64 “ 88 104 118 1384 148 178 208 238 266 296 356 


*Applies only to Coated Papers. 
Fig. 1901. Sizes and weights of book papers. 


PAPER 653 


The substance number indicates one weight (thickness) running 
through all the regular sizes, the larger sheets weighing proportionately 
more per ream because of the larger area. For example, a sheet of 
25x38-—60 is the same insubstance (thickness) as a sheet of the same paper 
in 38x50—120. While all of the listed sizes are regular, some jobbers do 
not carry all of the different ones in stock, but order the less used sizes 
from the mill when wanted. 

The regular substance weights for machine finished and super- 
calendered papers are 30, 35» 40, 45, 50, 60, 70, 80 and 100 pounds and 
for coated papers 60, 70, 80, 90, 100 and 120 pounds. However, a slight 
additional charge is made for machine finish paper lighter than 45 
pounds basic weight, on super-calendered when less than 50 pounds 
and on coated when less than 70 pounds. 


COVER PAPERS 


Probably no other feature receives more attention than the cover, 
when a booklet or catalog is under consideration. The cover stock and 
its combination with the design and the manner in which it is handled 
bear the same relation to the reception of the printed message as do 
the salesman’s dress and appearance on his personal call. The points 
in the selection of a cover are color, kind of finish and the suitability of 
it to the text within, and the choice made is largely a matter of per- 
sonal taste, governed by the amount of the appropriation for the par- 
ticular job under consideration. 


20 x 26 in. 25 35 40 50 65 80 90 
Boao! 363 51 OSo= to in AN pasa) 
26x40 “ 50 70 80 100 130 160 180 
33 x 46 “ 73 102. 117 146 190 234 ~ 269 


Fig. 1902. Sizes and weights of cover papers. 


Although the materials, the preparation of them, and the processes 
of manufacturing are the same for cover papers as for book, the list 
of items in cover stock is much more extensive. The number of sizes 
and weights of any particular kind of cover paper is more limited than 
in book papers, but there is a wider range of colors and kinds of finish. 
Many of the names given to the different kinds of finishes are trade 
names adopted by individual mills, while some of them are in general 
use. The ones most familiar are antique, ripple, laid, hand-made, 
crash, plate, wove and a number of special finishes. 

Some of these finishes are obtained by running the sheet between 
embossing rollers, after it is finished, to produce various patterns and 
novel designs. The variegated color effects are produced by special 
methods used in applying the color to the liquid pulp. By fusing with 
the body sheet a thin uneven web of fibre of a different shade of color 
from that of the body just as it is entering the paper-making machine, 
the mottled surface is obtained. 

Enamel coated cover papers are produced by the same methods as 
coated book stocks, except that they are made in a heavier weight and 
not subjected to so much pressure in the calendering processes, this 
being necessary, because too much pressure would make the paper 


654 COMMERCIAL ENGRAVING AND PRINTING 


brittle and it would not fold well. Asin book papers, there are different 
erades of this kind of stock and the screen of halftones, where they can 
be used, depends on the finish. 

The usual sizes of cover paper, as supplied by the jobbers, are 
20x26, 23x33 inches, or slightly less than these. While sizes 26x40 and 
33x46 are considered standard, they are not always obtainable. Some 
are listed on a basis of pounds per ream of 500 sheets; others as light 
weight, medium, heavy, two-ply, etc. The light weight is sometimes 
used for inside pages or end sheets, while the heavier sheets are used for 
covers. Cover paper is often used for various other purposes than for 
covering booklets and catalogs, such as mailing cards, folders, booklets, 
making envelopes to match the covers of catalogs, etc. 

Very few cover papers can be printed satisfactorily with halftones; 
line engravings being most suitable. Line color plates, embossing, 
lithography and offset are used more extensively than any other of the 
processes for printing cover stock. The plate finish papers, however, 
if suitable for halftones, may be printed in one or more colors with 
as good results as the high grade book papers. 


WRITING PAPER 


Writing paper is the general term used in connection with the papers 
that are most suitable for writing purposes and includes flat writing, 
bond, linen, and ledger paper. As a general rule, it is impractical to 
attempt to print anything other than line plates on this kind of paper, 
although there are several kinds on which halftones of not too fine a 
screen print up very well. Some of the bond papers are made with 
a plate finish so as to permit the printing of halftones on letter heads, 
where they are desired, but a screen finer than 133 lines is seldom 
practical for such work. The processes of lithography, offset printing 
and steel die embossing are more suitable to such papers, except for 
blank books or for the ordinary class of work wherein letterpress print- 
ing from type is commonly used. 

The materials used in the manufacture of writing papers are 
sulphite, in the cheaper grades of the flat writing and bond papers, a 
mixture of sulphite and old rags, for the medium grades, and rags alone 
for the better grades, while the extra fine papers are made from clean, 
new rags, the linen papers being made from linen rags only. 


FLAT WRITING PAPER 


Flat writing paper is the name applied to a wide variety of papers 
whose use is found mostly in personal correspondence. These are all 
machine-made, engine-sized and calendered, and range from the 
cheapest grade, found in the tablets for school children to the exquisite 
quality of milady’s stationery. Its use in the business world includes 
ruled papers as used in the cheaper grades of blank books and a small 
number of the ‘‘copy papers” and similar grades used in railroad and 
other offices where the nature of the work demands a cheap paper for 
writing purposes. Such paper is subject to atmospheric conditions and 
becomes yellow, hard and so brittle that it breaks with very little hand- 
ling and for these reasons it is not suitable for permanent records. 


PAPER 655 


BOND PAPERS 


Bond papers, as the name signifies, were originally made for engrav- 
ing and printing bonds, stocks and other financial certificates which 
necessitate a dignified, strong, firm-bodied paper. They are still used 
for this purpose, but the amount so consumed is small in comparison 
with that used for letterheads, folders, small booklets, etc. 

Bond papers are made from wood, rags or the combination of the 
two according to the quality of the paper desired. A number of finishes 
may be obtained, including plate, cloth, laid, wove, etc., in weights 
ranging from 13 pounds per ream of 500 sheets to 44. Some bond 
papers used for letterheads, folders and the like are made with a finish 
that is calculated to take a halftone, when necessary, but the majority 
are not suitable for other than line engravings, steel plate and die, litho- 
graphy and offset. 

LINEN PAPERS 


“Linen” is the name applied by the novice to all papers that have 
a cloth finish, whether they are made from linen rags or not. Among 
persons familiar with the paper trade, linen paper means the high- 
est grade of writing paper, made from linen rags only. The name 
is taken from the material used in the manufacture and not from the 
particular finish that it has. There is very little genuine linen paper 
made, the papers so called being imitations made from the same ma- 
terials as used in making bond papers, and they are used for letter- 
heads, envelopes, record forms, etc. The finishes and possibilities for 
printing are practically the same as that of the bonds. 


LEDGER PAPERS 


Ledger paper is the name applied to a high grade of writing paper, 
which has long wearing qualities, a smooth writing surface, and that 
permits erasures and re-writing without damaging the surface, as is 
not the case with ordinary writing paper. At first, ledger paper was 
used wholly for the record books, where the books were handled a great 
deal and the record had to be permanent. Now, however, they are also 
used in the lighter weights for correspondence, envelopes and other 
forms of office stationery. 

The line of demarcation between this kind and some of the others 
is difficult to distinguish, the same as with the other kinds of writing 
paper. Without knowing all of the details of manufacture, the materials 
used and the purpose in mind when it was manufactured, one is often 
unable to tell whether a paper is bond, linen or ledger. One of the 
chief characteristics of the writing papers is the fact that they are, as 
a general rule, all water-marked. 


IMPORTED PAPERS 


Special hand-made papers from Japan, China, Italy, France, 
England and other foreign countries are imported in considerable quan- 
tities and used largely for fine books, brochures, programs, menus, 
book plates, certificates, photogravure or process inserts, artistic 
advertising folders, envelopes, fine stationery, booklet and box covers, 


656 COMMERCIAL ENGRAVING AND PRINTING 


fly leaves, protecting sheets, photograph mounts and mats and other 
decorative purposes. 

Most of these papers are not adapted to fine halftone printing and 
as they are made and largely sold with four deckeled edges, they are 
not suitable to close register color work without special handling. 

Many of the papers produced in China today are the same in quality, 
size, crudity and other details as the first manufacture, originated no 
one knows how many years aga. Japan, France, Italy and other coun- 
tries, while more progressive in the modern methods of manufacture, 
still produce many of the papers, the individuality of which was 
established many generations ago. 

The use of such papers for any of the many purposes for which they 
may be used in contrast with those commonly used, must obviously 
give a touch of distinctiveness and quality worth while. 


SIZES AND WEIGHTS OF WRITING PAPERS 


As with book papers, a system of substance numbers denoting 
weight are used in connection with writing papers, the only difference 
being that the sizes and weights of these papers are not the same as for 
book. The basic size is 17x22 inches and the basic weights are 13, 16, 
20, 24, 28, 32, 36, 40 or 44 pounds to a ream of 500 sheets. The list of 
sizes and weights in Fig. 1903 applies to all flat writings, linens, bonds 
and ledger papers. 

BASE SIZE AND WEIGHTS 
Inches No. 13 No. 16°: No. 20 No. 24 No: 28° “No. 32> "No, co@ 1) Non Omens on 
17 x22in. 13 1b. 16 1b. 201b. 241b. 28 lb. 32 1b. 36 1b. 401b, 42 1p. 


14 x84 -16%. 290% | 254 802-1 3h) ed 51 56 
[6A 21a 11 ee ee Dine OF Pact Ey ane 392 
(603260) eA 29 iver eb 354 40 442 49 
16x40, 293 29 36 43 50 57 65 re 79 
164x21: 12 15 igi 22 26 201 Wea 37 403 


Wt 247 16 20 25 30 35 40 45 50 55 
194x285) 19 233 295 oo 41 47 53 583 645 
20 x 28 195 24 30 06 42 48 54 60 66 
20 x 56 39 48 60 72 84 96 108 120 132 
21 x32 23 29 36 43 50 57 65 72 79 
21) Xoo 24 293 37 44% o2 593 665 74 815 
213 x 314.9. 234 29 36 43> 502 58 65 125 795 
2205 25e we elOe 24 30 36 42 48 54 60 66 
22 x 34 26 32 40 48 56 64 72 80 88 
22 x 38 20 36 445 533 623 713 805 895 983 
223x225 173 215 27 323 38 43> 483 54 593 
223 x 283 223 273 343 4] 48 55 613 684 755 


PAPER 657 


BASE SIZE AND WEIGHTS—Continued 
17 x22in. 13 1b. 16 1b. 20 Ib. 24 1b. 28 1b. 32 1b. 36 Ib. 40 lb. 44 Ib. 
224 x 34 263 323 41 49 574 653 734 82 90 
222 x 253 203 25 314 374 44 50 564 624 69 
22? x 354 28 344 43 D2 604 69 774 863 95 
23 x 244 193 24 30 36 42 48 54 603 663 
yest Sb aaes 223 274 344 413 48 55 62 69 76 
PR ast | 29 303 38 454 534 61 684 76 84 
2a X 34 ja BBE 42 50 584 67 754 834 92 
Bo aXoo 29 OD 44 De 62 a 80 89 97 
23% x 284 23 284 354 423 494 564 64 ral 78 
24. x 38 ape 39 49 59 68 78 88 98 107 
24 x48 40 493 613 74 86 984 111 123 1353 


30 x 38 40 49 61 73 85 98 110 122 134 
ol x 53 57 103 88 1055 123 1405 158 1753 1932 
04 x 44 52 64 80 96 112 128 144 160 176 


Fig. 1903. Sizes and weights of writing, linen, bond and ledger papers. 


While there are shown in Fig. 1903, fifty-eight sizes of writing 
paper and each size is listed in nine different weights, this, however, 
does not mean that any kind of paper can be had in all of these sizes 
and substances. There are special sizes that are used with bond papers, 
others with ledgers, and so on, but the list is inclusive of all of the dif- 
ferent kinds of paper that come under the general head of writing. 
An extra charge is made for writing paper lighter than the basic weight 
of 16 pounds. 

Names are often used in connection with the different sizes of 
papers, having originated, in most cases, from the watermarks that 
were originally used in the making of the special sizes. The following 
list gives the most common ones, together with their sizes: 


ok do. 14x17 Double Medium........... 23x36 
(60) «TOT CE a er 14x34 RG eee ee gear ee 19x24 
Pere an my ok et. 17x28 DoublesRoyale ea eee 19x48 
PounlesDble Caps ....2.....17x56 DoublesRovalna ae oe 24x38 
Poumerobl Cap inc :.-... 28x34 SUDeTAL Oya are ee ey 20x28 
OO) Se ee 15x19 Double Super Royal....... 20x56 
PPO Me MI LOW MN hao. es ks 19x30 Double Super Royal....... 28x40 
eT ania... ons 16x21 Iniperial ies ayo Sart oe 23x31 
Oye SO" BO ae ar re 16x42 Elephant een ee aoe 23x28 
Woublen Demy), 2.) sas 21x32 Columbier;uic. ee oe 23x34 
(GNC. ook el a ra 17x22 Zolumbiers: swe eee 24x48 
POU MOWG eh sa ee AS 22x34 UNA EERO Sg meg a Cay 26x33 
VLCOIN Ms ech es lg, 18x23 Double Elephant .......... 27x40 


658 COMMERCIAL ENGRAVING AND PRINTING 


CARDBOARD 


Cardboards are only thick papers and are made either by the 
combination of different webs of pulp as it is entering the paper-making 
machine, the pasting of different layers of paper together to make the 
required thickness, or by making a very heavy sheet on the cylinder 
machine. The cardboards, thus made, are usually one of two kinds, 
that is, bristols or coated and both are obtainable in colors as well 
as white. ; 

Special lining and pasting machines are built for combining two or 
more sheets, or for lining one or both sides of board. 


BRISTOL BOARDS 


Bogus bristols are made from old newspapers; mill bristols, ground 
wood and sulphite; index and folding bristols, sulphite and rags and 
the best wedding bristols from rags. 

Thick bristols are made by pasting different sheets of the same kind 
of stock together until the required thickness is obtained and are 
designated as one-ply, two-ply, etc., according to the number of sheets 
used in the making of one sheet. The quality of the stock depends 
entirely on that in the sheets that are pasted together and the range 
is from low to high grade or wedding bristol. The latter is used exten- 
sively for invitation and announcement cards, correspondence cards, 
etc. The finishes vary, but are known by the same names as those of 
book and cover papers. Colored bristols are made in the same manner 
as the white, the color running entirely through the sheet. 


COATED BOARDS 


The coated cardboards are usually made by combining the different 
kinds of pulp as it is entering the cylinder machine. This method of 
making allows the use of better sheets on the outside, with cheap filler 
inside, since the different webs that go to make up the sheet come from 
different vats. The filler may be any cheap material such as mechanical 
wood pulp, old paper stock, etc., although it is usually comparative 
to the outside in quality. The same methods are used in coating boards 
that are used in coating papers. ~The commoner coated cardboards are 
litho blanks, tough checks, china boards, railroad, etc. In some of these, 
the filler is made up of layers of webs of pulp and the outside sheets are 
then pasted on. In colored boards of this kind, the filler does not 
always conform to the color of the outside, as the filler is made from 
cheaper stock and is left in its natural shade. 


CARDBOARD SIZES 


Some cardboard sizes are 22x28, others 224%x28% inches. The 
weights of most kinds are listed at number of pounds to the ream, and 
the thickness is also indicated by the use of the term ply, or gauge. 
The ply of one kind of board may be thicker than the ply of another. 
The plies of any one kind, however, are uniform. 

Index bristols are furnished in sizes 201%4%x2434, 22%x28™% and 
251%4x30% inches and some wedding bristols in size 21x33 and 22x34 
inches. 


PAPER 659 


OFFSET PAPER 


As the name would indicate, this is a paper made especially for 
offset printing. It isa rather soft, bulky paper, somewhat similar to an 
inexpensive eggshell book, made in white and can be furnished in the 
usual book paper sizes. The better grades are made from sulphite and 
rags, specials from soda, sulphite and old papers and regular grades 
from soda and sulphite, all being finished to free the sheet from lint 
and fuzz. 

BLOTTING PAPER 


Blotting paper is made without sizing, thus retaining all of the 
absorbent qualities which are natural to paper. It is made in many 
grades, finishes and colors, depending on the purpose for which the 
stock is to be used. Enamel blotting is simply a sheet of the absorbent 
stock, to one side of which a sheet of enamel coated book paper has 
been pasted. This enamel blotting possesses practically all of the quali- 
ties of enamel paper, taking fine screen halftones well on the one side 
and having the usual blotting qualities on the other. Litho-finished blot- 
ting paper is a trade name given to a blotting paper of good body and 
fibre, which has been finished with a plated, or calendered surface with- 
out the enamel coating, which may be lithographed, or on which 
medium fine screen halftones may be printed. Blotting paper with 
embossed pattern surface is made by running under pressure between 
rolls on which the figures to be embossed have been engraved or cast. 

The best grades of blotting are made from pure cotton, the next 
lower from cotton rags, the next from rags, sulphite and clay, and the 
cheapest from ground wood and clay with no sizing. The standard 
size of sheet is 19x24 inches and in substances weighing 100, 120 or 
140 pounds to the ream. 


LITHOGRAPHIC PAPER 


This is prepared with a special quality and finish to secure the best 
results in lithographing from stone, or by the offset process, usually for 
label and wrapper work. Special treatment is also given it to counter- 
act the tendency of paper to stretch, which would likely destroy the 
register and affect the quality of the work. The best grades of litho- 
graphic paper are coated on one side in much the same manner as 
regular enamel coated stock. 


SAFETY PAPER 


This is so treated or coated with chemicals that no writing or print- 
ing upon its surface can be erased or removed without leaving indelible 
marks on the paper. It is used for safety in bank checks and other 
forms of commercial paper to protect against alteration. In making 
the safety paper which is used in our national currency, a special at- 
tachment is used on the machines in the government mills, which 
introduces the silk threads that are always seen in our paper money. 
Other forms of safety paper are made by watermarking or imprinting 
the entire surface with special designs. 


Pages 657 to 664, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


660 COMMERCIAL ENGRAVING AND PRINTING 


HAND MADE PAPER 


Comparatively speaking, there is but little hand made paper manu- 
factured in this country; most of that used being imported. That 
obtainable is usually of high quality and has a rough surface with deckel 
edge and is used for the highest class of brochures, books, etc., where 
the edition is limited and an especially distinctive or novel appearance 
is desired. The process of manufacture being slow, and only the best 
quality of materials being used, the cost is higher than for machine 
made papers. Usually it is impractical to attempt to print other than 
coarse line etchings or wood engravings on these papers. 

In making the paper by this process, the pulp is prepared in the 
usual way and the mould dipped into the vat of pulp by hand for each 
sheet. The mould consists of a light frame, over which has been 
stretched a wire cloth. The watermark is placed in relief on the cloth; 
“Vaid,” ‘cloth,’ or other design being made to appear on the paper the 
same as the watermark from the dandy-roll in machine made paper. 
A loose frame, called the deckel, of the size and thickness for the sheet 
that is being made, is laid on top of the wire and held in place while the 
whole is dipped into the vat of pulp. As the frame, or measure of pulp 
is lifted from the vat, it is held level and slightly shaken laterally, so 
that the fibres may mat properly as the water runs away through the 
wire. The loose frame is removed and the wet sheet of pulp is turned 
off on to a sheet of felt, this being known as couching. A stack of the 
sheets, alternating with felt, is subjected to pressure to eliminate 
the water, after which the felt is removed and the sheets of paper are 
further pressed and then dried. They are then sized, dried and plated 
if a smooth surface is wanted, and put through the final processes of 
finishing. 

GLAZED PAPER 


This is used largely for covering candy, glove and other boxes, 
also for fancy articles and is produced by the addition of wax to the 
coating and treating the paper by one of two processes; friction or flint 
glazing. In friction glazing, the paper passes between two rollers, one 
of cotton and the other of chilled iron, the latter revolving at much 
greater speed than the former. The friction thus generated, gives the 
paper the desired high polish. The other process consists of a special 
burnishing machine, through which the paper passes. A flint-stone, 
fitting closely in a groove below the paper, works back and forth 
against the sheet, producing a very high and lasting finish. 


TRANSPARENT PAPER 


Several methods are employed in making papers of this character. 
The usual one is the application of a thin coating of a solution of 
Canada balsam in turpentine, or a solution of castor or linseed oil in 
absolute alcohol. The alcohol, in the latter case is permitted to 
evaporate, thereby rendering the paper transparent. Such paper is 
largely used for tracing purposes. It may be restored to its original 
state of opacity, with the tracing left uninjured, by removing the oil 


PAPER- 661 


eae Courtesy Mayer Coating Machine Co., Rochester, N.\. 
Outline halftone, 133 line. Made from a black on India print from a halftone. 


Fig. 1904. Mayer carbon paper coating machine. 


with a fresh bath of alcohol. With such paper the process of manufac- 
ture ceases with the drying, or crushing rollers. 


WAX, OIL AND CARBON PAPERS 


Tissue and onion skin Papers are used in making carbon papers. 
The coating is applied with a machine, one type of which is shown in 
Fig. 1904. The ink, or dope as it is called, used in coating is a mixture 
of waxes, pigments, colors, etc., and is heated in steam pans on the ma- 
chine and applied to the paper by coating rolls which raise the ink to 
one or both sides of the paper. The paper, which may be of any width 
up to 28 inches, as it unwinds from the roll Passes over the coating 
rolls, then to equalizers to make the coating uniform, then to the 
smoothing, chilling and hardening rolls and finally to the rewinding 
spindles on which it is wound in rolls. The process is varied slightly 
to produce different products such as hard finish, high gloss carbon, 
semi-annealed carbon, dead flat finish, dull finish, striped carbon for 
sales books, etc. 

Wax or paraffin is applied to paper in much the same manner as 
carbon coating. One type of machine will saturate any degree of wax 
clear through the paper, or partially. It will coat any amount of wax 
on one or both sides of the paper from rolls, as wide as 72 inches, at one 
operation, also it will wax on one side and prevent the wax from soak- 
ing through. Oil paper can also be produced on the same machine, the 
only difference in the processes bein g in the coating materials used. 


PARCHMENT PAPER 


This is prepared from unsized tag paper by submerging it for a few 
seconds in a solution of dilute sulphuric acid, or oil of vitriol. It is 
then washed in cold water and all traces of acid are removed by dipping 
it in a solution of ammonium hydroxide. It becomes tough, trans- 
parent, glossy and almost impervious to water and is extensively used 


662 COMMERCIAL ENGRAVING AND PRINTING 


in wrapping lard, butter, meats, etc. It is known as vegetable parch- 
inent. 

Genuine parchment is made from the skins of goats, sheep and other 
animals, being cleaned and dressed for writing. It is used for engraved 
or lithographed certificates, diplomas, and important documents. 


SOFT PLATE PAPER 


Soft plate paper is a bulky, unsized paper especially adapted for 
fine engravings, printed from steel and copper plates. 


TESTING PAPERS 


There are numerous laboratory tests to determine the quality of 
papers, based upon the distinctive quality of the contents—ash test, 
bursting strength, tensile strength, stretch, etc.—for which the average 
paper buyer does not have the proper facilities, so that he must be 
content with practical tests, which can be made without elaborate 
equipment; or, at most, with the aid of a micrometer and paper tester. 
Generally speaking, any paper may be tested for the following: color, 
surface (finish), substance, texture, opacity, bulk, handle, cleanliness, 
strength, folding, wear and shrinkage. 


COLOR 


In testing paper for color, daylight only should be used. The light 
well diffused, should come from back of the observer. Single sheets 
only should be examined—not in piles, for the underlying sheets will 
give a depth of color that a single sheet does not possess. The white- 
ness of coated paper should be determined by comparing the sheet with 
some accepted standard. It will be found that some papers are bluish- 
white; others approach a cream color; and still others a reddish-white. 
To test the permanency of the color, place a sheet in the sunlight, 
partly covered, removing after a few hours. The difference in shades 
between the part that was covered and that left uncovered will give an 
idea of the permanency of the color. 

In ordering paper, where the color is to be exactly matched, it is 
essential that a sample be furnished with the order, or that reference 
be made to the jobber’s sample book. Merely to specify India tint, for 
instance, might be to obtain any color from a light cream to a deep buff, 
so greatly do the color standards of various mills differ. Also, it is 
important to remember that a mill run of India tint, or any other color, 
to-day may be one shade, while the same mill may make an entirely 
different shade from a similar run a month hence. 


SURFACE (FINISH) 


The finish of printing paper is, in the majority of cases, the point 
chiefly to be considered. Upon the finish depends, in a great measure, 
the printing possibilities, especially if illustrations are to be used. 

In order to determine the quantity of upstanding fibre on a sheet 
and the uniformity of the surface, it can be held level with the eye and 
the fibre-stand noted. This visual test also will give a good idea of the 
finish by showing the amount of light reflected from the surface. The 


PAPER 663 


most practical test is to print or otherwise use a few sheets of the paper 
under consideration just as they are to be used in the contemplated 
work. Before paper can be blamed for imperfect results in printing, 
it must be proved that ink, plates and all working facilities are in 
proper condition, as they, and not the stock, may be at fault. 

To determine whether or not the coating lies properly on the sheet, 
tear the sheet both ways and note the amount of enamel which may be 
removed by rubbing the finger along the tear. If the enamel is not 
thoroughly ‘‘anchored”’ to the body of the sheet, a white dust will rub 
off of the torn edge; if the enamel is properly put on, only a small bit of 
dust will be visible on the fingers. The coating has a tendency to pull 
away from the body in printing, when the coating has not been put on 
properly, especially in the solid blacks. This is called “picking” or 
“lifting.” This may be caused, also, by a chilled paper or a cold 
pressroom. 

A slight difference may be noticed in the finish of the two sides of 
some bond papers. One side slightly shows the impression of the wire 
on which the paper was carried during its formation on the machine. 
The opposite side, known as the felt side, is best for printing. 


SUBSTANCE (WEIGHT AND THICKNESS) 


Most paper stock is sold on a basis of a certain weight per ream of 
five hundred sheets of a certain size. With the paper beam shown in 
Fig. 1905, the weight per ream may be determined by weighing a single 
sheet of the size under consideration. 

Thickness may be accurately determined by the use of a thickness 
gauge, in the jaws of which the paper is placed. With the closing of the 
jaws the thickness is indicated by the pointer or the dial to the thou- 
sandth part of an inch. The thickness of board is usually expressed 
Dyn eheets or “‘ply.”’ as 3-sheet, 4-sheet; 3-ply, 4-ply, 6-ply, etc., or 
by gauge. 

A “sheet,” or “‘ply,’’ does not always indicate the same thickness. 
In testing cardboards, it is customary to test them for “‘snap,”’ which 
is done by bending a corner or edge and releasing it quickly. The 
“life” or resiliency of the card is apparent in this way, by the manner 
in which the board resumes its original shape and condition. 


TEXTURE 


The texture of a sheet is best indicated by holding it to the light, 
noting the evenness of formation and the uniformity of markings. A 
“wildness,” or patchy, cloudy appearance is objectionable and indi- 
cates an uneven formation, which may go so far as to make the sheet 
uneven in thickness, thus making it difficult to print from plates. 


OPACITY 


‘For printing, it is necessary to have a sheet that is Opaque to a 
certain degree, at least, or the type matter and illustrations on one side 
would be visible on the other to such a degree that the printing thereon 
could not be read easily. This is dependent upon the nature of the 
fibre, the treatment given it during the processes of manufacture, 


664 COMMERCIAL ENGRAVING AND PRINTING 


sizing, loading, finishing, etc. To test the comparative opacity of dif- 
ferent sheets of paper, hold to the light, placing a lead pencil between 
the light and the sheet. The depth of the shadow visible on the oppo- 
site side will indicate the comparative opacity or density of the sheet. 
Too great a density suggests an excessive amount of mineral matter. 
Pure sulphite wood pulp usually makes a transparent paper. An 
opaque sulphite wood sheet is probably heavily loaded or contains 
mechanical pulp. 
BULK 


Bulk is the ratio of weight to thickness. A sheet of blotting paper, 
for illustration, is of considerable thickness, but weighs only a little, 
while a sheet of coated enamel of the same size and much thinner will 
weigh as much or more. In other words, the blotting paper is bulky 
and the enamel is not. 

It is possible to measure the bulk of paper by means of a pressure 
bulker. This instrument is also used to ascertain the number of pages 
of a stipulated stock that will be required to make a book of a desig- 
nated thickness or ‘‘bulk,’’ after the application of a certain amount of 
pressure. The sheets to be tested, or the dummy is placed between the 
contact faces of the machine and clamped down until the required 
amount of pressure is indicated on the dial, when the thickness will be 
shown on a vertical scale to the left. The pressure is indicated in 
pounds per square inch and the thickness in inches and fractions. 


HANDLE 


Handle is the impression created in the mind of the observer. It 
includes the ‘‘feel’’ and the ‘‘rattle,’’ which is the test that the average 
man uses in passing judgment on paper stock. This alone is not to 
be depended upon as a test for paper. 


CLEANLINESS 


In testing for cleanliness, or the freedom from impurities, examine 
the sheet for specks, grit, dirt, fibre lumps, pinholes, resin spots, raw 
pigment (color), etc. This, too, is purely a visual test and unless a 
number of sheets are examined it is not reliable. 


STRENGTH 


Strength of a greater or less degree, is desired in all papers. Blot- 
ting, or mimeograph paper has little strength. Wrapping paper must 
be very strong. Strength of paper stock can be determined by tearing, 
both with and against the grain. The sheet will tear more easily with 
the grain than across it. Tensile strength can be tested by cutting 
small strips and noting the force necessary to pull them apart. 

The Mullen paper tester, shown in Fig. 1908, automatically registers 
the strength of paper in pounds to the square inch. The paper is 
clamped over one end of a cylinder which is filled with liquid. The 
liquid in this cylinder is compressed by means of turning a handwheel 
and the fluid is thus forced up against the paper. There is a rubber 
diaphragm between to keep the fluid from wetting the paper. At the 


PAPER 665 


Fig. 1905 is an outline halftone and Fig. 1906 is an outline-vignette. Both are 133 line and were made from photo- 
graphs of retouched photographs. 


*Fig. 1905. Paper beam. Fig. 1906. Thickness gauge. 


same time that the fluid is being pressed up against the paper, the 
same fluid is acting directly on a standard pressure gauge, so that the 
pressure is registered in pounds per square inch. This fluid pressure 
is increased until the paper is burst. At the breaking point, the gauge 
pointer remains stationary so the results can be read. A sheet should 
be tested at the sides, ends and as near the center as possible for 
proof of uniform strength. 

These testers are made in various sizes, the larger ones being used 
to test corrugated board for packing cases, leather, celluloid, textile 
goods, etc. 


Outline-vignette halftones, 133 line. Made from photographs of retouched photographs. 
Fig. 1907. Pressure bulker. Fig. 1908. Mullen tester. 


*The illustrations in Figs. 1905, 1906, 1907 and 1908 are shown through the courtesy of B. F. Perkins & Son, Inc., 
Holyoke, Massachusetts. 


666 COMMERCIAL ENGRAVING AND PRINTING 


Line etching on zinc made from a pen drawing. 


Fig. 1909. Manner in which paper may be cut into sheets from the roll. 


FOLDING QUALITIES 


In mailing cards, broadsides, folders, etc., where severe handling 
is expected and where folding and re-folding will be necessary, it is 
essential that the sheet have good folding qualities. To test for folding, 
fold the sheet both with and against the grain, at right angles, so that 
the folds intersect at a point, thus “‘ +.’’ Then fold the sheet back on 
itself, that is, in the opposite direction and note the conditions at the 
point of intersection. Here it is that the greatest strain comes and a 
sheet that holds out well at this point is sure to fold well. 


GRAIN 


As the fibres are felting into the sheet while being carried over the 
wire on the paper machine, there is a tendency for a majority of them 
to remain parallel with the edge of the sheet that is being formed. 
Hence the grain thus formed runs the long way of the sheet in the roll, 
but when it is cut into smaller sheets it may run one way in some and 
the other in others, depending on the width of the original roll and the 
sizes into which it is cut. Almost any sheet folds best if folded “‘ with 
the grain,’ and while some will also fold well across the grain, others, 
especially the heavier covers and card boards, break or fold unevenly. 

The diagram in Fig. 1909 shows how a roll of paper may be cut. 
While the grain in all of the sheets would run in the same direction, as 
indicated by the arrows, it would run the long way of the sheet in part 
and the short way in others, hence the course of the grain can not be 
determined by the length or width of the sheet. 

The direction of the grain may be determined by moistening a small 
section of the edge of the sheet, and then pressing out between the finger 
and thumb. As the sheet dries, the edge will present a wavy or curled 
edge, if it is across the grain, or it will remain straight if with the grain. 
The direction of the grain in some papers can also be found by tearing, 
not only by the way they tear but by the appearance of the fibre on the 
torn edges. A tear with the grain is straighter and cleaner than if 
across it. 


PAPER 667 


WEAR 


For testing the wearing qualities, crumple the sheet and rub as you 
would a rag. Good rag paper will not crack or tear with such usage. 
Book papers and covers can be tested out as in actual use. Have 
samples handled as you would expect your complete work to be 
handled. 


SHRINKAGE 


One very important requirement of a paper on which color, or other 
close register work is to be printed, is that it shall not expand or shrink 
with changes of humidity and atmosphere. Notwithstanding the fact 
that before going to the calenders, the sheet has passed over many 
steam heated rolls, there is still a certain amount of moisture in the 
finished sheet of new paper. On enamel coated paper, the clay and 
glue are highly susceptible to changes of humidity and temperature, 
hence the need of thorough seasoning and acclimatizing before working 
on the press. The glue is weakened by moisture and the clay when 
cold becomes brittle. Either condition will cause ‘ picking.” 


SEASONING 
To avoid difficulty on account of shrinkage when printing close 


register work on new paper, the paper should be seasoned before it is 
printed. The paper is unpacked, separated into small parcels and 
placed on drying racks where, after a few days, it is reasonably safe 
to assume that there will be neither shrinkage nor stretch. To hasten 
the seasoning process, stock is sometimes run through a cylinder press 
“over the flame,’’ but not printed. The flame is a long gas burner 
running the full width of the press, over which the sheet must pass in 
delivery. When paper is received on a rainy or damp day, it should 
not be unpacked, but left in the wrapper or case until dry weather. 


Square halftone, 133 line, no line. Made from an unretouched photograph. 


Fig. 1910. Calendering, cutting and inspecting. 


668 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1922A. Halftone, 60 line screen. Fig. 1923A. Halftone, 85 line screen. 


Fig. 1924A. Halftone, 100 line screen. Fig. 1925A. Halftone, 120 line screen. 


Fig. 1926A. Halftone, 133 line screen. Fig. 1927A. Halftone, 150 line screen. 


Pages 665 to 672, inclusive, are printed on 25x38—60 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


PAPER 669 


lll mh 


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Wy | I 


ast 


teu l 


SMS ay wy we . 


— 
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lus! n : ies 
Fig. 1928A. Open or grey halftone, Fig. 1929A. Line etching on zinc 
120 line screen. from a pen drawing. 


MANUFACTURERS GF 
Eoae Toots & Machinery 


Fig. 1932A. Line etching on zinc of lettering with machine shaded ground. 


The illustrations on this and the opposite page are part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


670 COMMERCIAL ENGRAVING AND PRINTING 


The stock should be seasoned with the atmosphere of the pressroom. 
To have the sheet too dry, as it sometimes becomes by running it over 
the flame, will not result in shrinkage, but in expansion or stretching, 
a condition just as disastrous to close register work as shrinkage. 


ELECTRICITY 


The friction resulting from the contact of the printing sheet with 
the cylinder and delivery often generates static electricity, especially 
in a dry, cold atmosphere. This condition may arise in any machine 
handling paper, such as the printing press, folder, bronzing machine, 
pebbling machine, etc. It is especially noticeable where paper or rubber 
rolls come in contact with the paper. This electricity frequently offers 
considerable difficulty in several ways. It causes the sheets to adhere 
together, resulting in difficulties for the feeder, and in case of thin 
stock, several sheets are likely to run through the press at one time, 
being held together by the electricity. The difficulty usually may be 
overcome by a ground wire. 


INSPECTION AND PACKING 


After the paper has been given the desired finish, the better grades 
are inspected. This work is usually done by experienced women, whose 
sight is so trained as to detect instantly the slightest defect or blemish 
in a sheet as it is held to the light. In this very careful manner, every 
sheet bearing a spot or other mark is separated from the others, and 
only the perfect sheets are passed. The slightly imperfect sheets are 
sold as seconds and the more defective are re-made into pulp for new 
paper. The sheets are then counted and wrapped and are ready for 
delivery to the jobber and in turn to the customer. 

News, in sheets, is usually packed ‘“‘soft fold’’ (doubled over) two 
reams (1,000 sheets) to the bundle; book papers in ream—(500 sheets) 
packages and about 500 pounds to the wooden case; the finer grades 
of book and cover papers, in packages of 100, 250 or 500 sheets and flat 
writing, linen and bonds in packages of 500 sheets. 


TRADE NAMES, BRANDS AND WATERMARKS 


While there are a great many papers sold nationally under one 
name or watermark, many mills make stock that is either not marked, 
or is marked with the jobber’s special watermark or label, the same 
grade being sold to different jobbers throughout the country and each 
selling under his own brand. Hence, there are many trade names that 
have no meaning except locally. 


COMPARATIVE WEIGHTS 


To find the comparative weight per ream of any size not included 
in the table shown herein is a simple matter by the following process: 
Multiply together the width and breadth of the sheet, whose weight is 
known, in order to find the total number of square inches in the sheet. 
In the same manner, find the square inches in the sheet whose weight 
is to be found. Multiply the square inches in the unknown sheet by 


PAPER 671 


the weight of the known sheet and divide by the number of square 


inches in the known sheet, and the result will be the number of pounds 
to the ream, if the same paper is furnished in the new size. 


PAPETERIES 


Writing papers for private correspondence now reach the consumer 
largely in boxes called cabinets; sheets, envelopes, cards, etc., being 
put in packages to match. Goods put up in this way are known in the 
trade as papeteries. The large sheets as made at the mill are cut into 
small ones, which are folded, pressed, banded and boxed with the 
envelopes, which are made to match from similar large sheets. 


ORDERING PAPER 


The most commonly used numbers in enameled coated book papers 
are 70, 80 and 100; S$. & S. C., 50, 60, 70 and 80; M. F., 50, 60 and 70; 
News, 33, 40 and 50; and in Writing and Bonds, 16, 20 and 24. 

When ordering paper it is necessary to state explicitly the name of 
the stock wanted, the size of the sheet, weight, color or tint, finish, etc. 
If the stock is to be cut by the jobber, the size of the pieces to be cut 
should be given and the number of pieces that each of the large sheets 
will cut. It is also well to state, if a substitution may be made and, if 
a sample is to be matched, it should be sent to the jobber and he should 
be instructed accordingly. 

While the names of the different kinds of paper are usually indica- 
tive of the principal uses of each, many are not used exclusively for the 
purposes the name would indicate. For illustration, it is estimated 
that more than half of the cover paper made is used for purposes other 
than for covering booklets, catalogs and books: book papers are used 
for many purposes other than making books, etc. 


TRADE CUSTOMS 


An extra charge is made for cutting stock size sheets to special! 
sizes, the amount depending on the time required. 

Most stock size cards, tags, index cards, etc., are cut with dies, 
thereby obtaining cleaner edges and more uniformity in size and shape 
- than can be obtained when cut on the ordinary paper cutting machine. 

No claims are allowed after paper has been cut, ruled, printed or 
otherwise made commercially defective. 

Certain colors, red especially, are more expensive than others in 
the same grade of stock. 

Paper manufacturers find that it is impossible to make paper 
absolutely uniform. All kinds are subject to a slight variation in 
strength, color, thickness and finish, this difference being scarcely 
noticeable in some lines and more so in others. 

It is customary with jobbers to charge a higher price for less than 
reams or original packages of any kind of stock, but an order for more 
than a ream, or full package, is usually sold at the full ream or package 
price, even though it is not for even reams or packages. 

Case lots (550 to 750 pounds, varying according to size, quality 


672 COMMERCIAL ENGRAVING AND PRINTING 


and nature of stock) are sold at a lower price than reams; ton lots at 
less than case and car load lots lower than ton lots. 

The sizes and weights, as listed, are not applicable to every quality 
of a kind and orders for other than stock sizes and weights are taken 
at a higher price. An‘additional charge is also made for packing, etc., 
when the order cails for packages other than the usual method of pack- 
ing. Orders for mill shipments of special stocks, size, color or quality, 
are always taken with the understanding that they are subject to over- 
runs and under-runs ranging from three to fifteen per cent. according 
to the amount ordered and usually the price for small quantities is 
higher than for the same quality from regular stock. 

Many mills also carry in stock quantities of all or part of their regu- 
lar product in rolls from which they can cut sheets of special sizes if 
called for. As the widths of rolls vary, and not all weights or colors are 
carried, it is usually necessary for a jobber to communicate with the 
mill before quoting on or agreeing to deliver a special size. 


A COMPARISON OF THE PRINTING QUALITIES 


To illustrate the results that may be expected in printing from 
halftones, made with different screens and in different styles of finish, 
and different kinds of line engravings, on different kinds of papers, 
the same illustrations shown on pages 668 and 669 have been dupli- 
cated on pages 676 and 677, 684 and 685, 692 and 693, 700 and 701, 
708 and 709, 716 and 717, 724-and 725; 732 and.7 44.0 740eey 
748 and 749, 756 and 757, 764 and 765, 772 and 773 and 780 and 781. 

While the illustrations have been duplicated, a set of new electro- 
types was used for each repetition, including those on pages 668 and 
669, that plates of the same quality might be used on each of the 
different papers. While some of the plates do not print well on some of 
the papers this is not a reflection on either the paper or the plates, but 
an indication that one is not adapted to the other. In each demon- 
stration will be found one or more plates best adapted to the paper 
used in the demonstration, and the examples shown will aid in ordering 
suitable plates for practically any paper. 

All of the halftones of the building were made from the same 
slightly retouched photograph, on which the border and vignette were 
drawn. Also each halftone shows the results from five styles of finish; 
square with line on the upper left corner, gray border on a section at 
left, plain edge on upper right corner, a section of abrupt or hard 
vignette on right and a soft vignette on the lower right corner. 


*Fig. 1940. 


EW pieces of printed matter are complete with the press work, 

and whatever additional operations are necessary are commonly 

known as bindery work. This includes a great variety of work 
in addition to actual bookbinding, with perhaps only a few of the 
operations applying to any one job. 

Bookbinding proper is a separate trade, and few printing establish- 
ments maintain a complete bindery. Printers usually have only such 
an organization and equipment as needed to take care of their regular 
line of work, and when something outside of this is required to finish an 
order, they send the special work to a bindery doing work for the trade, 
because it is more economical to do this than to maintain a department 
that might be idle much of the time. 


JOGGING 


Jogging attachments are a part of most presses. They are put on 
in such a way as to receive the sheets as they are delivered and they 
stack them all up with edges perfectly even, ready for the cutter, or 
for whatever operation follows. If the jogging is not done on the 
press, or other machine through which the sheets have passed, as soon 
as they are dry it must be done by hand, by standing them on edge and 
gently jolting them into alignment a few at a time, or the work may 
be done on a jogging machine. 


PADDING OR TABLETING 


This is often made use of when blank forms, or other printed mat- 
ter, is wanted in pads for convenient use. 

After dividing the trimmed sheets into pads by inserting pulp 
board between the groups of the sheets, they are jogged and stacked 
in a press, or under a heavy weight, and while under pressure a thin 
coating of glue is applied to the edge. A pieceof muslin may be used to 
reinforce the glue and the whole given another coating. When the glue 
is dry the pads are cut apart, leaving the pulp board on the underside 
of each pad. 

PUNCHING AND TABBING 


Many forms of printing, such as tags, loose leaves, index cards, and 
other record blanks, require slots or holes punched or drilled in them so 
that they may be inserted and held in various styles of loose leaf 
binders, file drawers, etc. Also index cards and guides are often wanted 


*Combination double print flat tone halftone, 133 line, and line etching on copper. Made from two pen drawings. 


674. COMMERCIAL ENGRAVING AND PRINTING 


Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 1941. Outlines of a few of the punching dies in general use. 


with tabs extending above the upper edge to facilitate classifying. 
Punching and tabbing is done on power-driven presses, the sheets 
being fed to the machines by hand from ten to fifty at a time, according 
to the thickness of the cards and the capacity of the dies and press. 
While certain shapes and sizes in dies for these purposes are more or 
less standard, a sample should be submitted when ordering, unless the 
printer's number or symbol for the die wanted is known. The same 
numbers and symbols are not used by all printers and binders, nor do 
they all have the same dies. Dies for holes or tabs of special sizes or 
shapes can, of course, be obtained. 


CRIMPING 


Loose leaf binders for holding ledger sheets and other comparatively 
large forms, are usually made with a post and clamp arrangement for 
holding the sheets which prevent the books being opened flat. To 
obviate the inconvenience of this, such sheets are often ‘‘crimped”’ 
near the binding edge, 7. e., a narrow strip is crushed, or it may be 
ironed thin, to make them bend easily. The ironing must of necessity 
be done on heavy presses. 


ROUND CORNERING 


Cards, loose leaves, booklets, and large books are often wanted with 
round corners. These requirements are met by the use of hand oper- 
ated machines or power-driven punching machine presses which have 
attachments or dies for such work. 


meas: 


Line etching on zinc. Made from a pen drawing. 


Fig. 1942. Outlines of tab cutting dies. 


BoOKBINDING 675 


_ Square halftone, 133 line, no line. Separate halftone negatives were made from slightly retouched photographs and 
stripped together. The white lines between the views were cut in the plate. View A, illustrates manner of jogging on a 
cylinder press; B, round cornering; C, tableting or padding (courtesy Golding Mfg. Co., Franklin, Mass.); D, jogging 
with a machine (courtesy Southworth Machine Co., Portland, Maine); EH, perforating; F, metal edging or tinning. 


Fig. 1943. Some finishing operations. 


PERFORATING 


There are two styles of perforating commonly used—hyphen per- 
forating and round hole perforating. The former can be done on an 
ordinary job printing press by feeding the sheets against a perforating 
rule, the same as in ordinary platen press printing, except that the ink 
rollers are removed. Sometimes the perforating rule is locked into the 
type form, and the perforating is done at the same time the type 
impression is made, but this means that the perforating rule also inks 
the stock where it comes against it, which does not contribute to 
neatness; and as the perforating rule must be a fraction higher than 
the type form the tendency is for it to cut the ink rollers, for which 
reason printers usually advise against it. 

There is also a device made for hyphen-perforating while printing, 


676 COMMERCIAL EN 


Fig. 1924B. Halftone, 100 line screen. 


Pages 673 to 680, inclusive, are printed on 25x38 
Coated Paper Co., Hamilton, Ohio. 


GRAVING AND PRINTING 


Fig. 1923B. Halftone, 85 line screen. 


Fig. 1926B. Halftone, 133 line screen. Fig. 1927B. Halftone, 150 line screen. 


—80 lb. Aigrette Enamel Coated Book, made by The Champion 


ee eae 


BooKBINDING 677 


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yy m i Ry \ KN 
+f ts ee 
M ; ) lj >, 
3 4 yi, . iT | 
Fig. 1928B. Open or grey halftone, Fig. 1929B. Line etching on zinc 
120 line screen. from a pen drawing. 


e 
OO eae 
MOUSE TU pete = 
z ‘ 


HALA re hee stn repeat es 
ce ae NE Sem EAS AOS A 


Fig. 1930B. Line ee on zinc 
from a crayon drawing. 


MANUFACTURERS G&=__] 3 SS 
Eoace Toots & MacHiINERY FOR SOD On Eo om ——— 


Fig. 1932B. Line etching on zinc of lettering with machine shaded ground. 


The illustrations on this and the opposite page are a part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


678 COMMERCIAL ENGRAVING AND PRINTING 


without inking the stock or cutting the rollers. The perforator is 
locked in with the type form, and is automatically opened and closed 
for perforating by the press. 

Hyphen perforating is also done on perforating machines, pro- 
vided with revolving notched discs which perforate the paper as it is 
fed through from one side of the machine to the other. There is a 
tendency, however, in the paper not to feed straight as it passes 
through a machine of this kind, resulting in perforating that is not 
straight. 

Printers are inclined to recommend round hole perforating, which 
is done a few sheets at a time on a special punching machine equipped 
with a row of closely set 1-16-inch punches, which punch a clean hole 
entirely through the paper. 

STRING LOOPS 


Pamphlets, hangers, tags, cards, etc., are often provided with 
string loops for hanging. Ordinarily the holes are punched ona punch- 
ing machine and the string cut, looped and tied by hand, but in plants 
producing large quantities of this class of work, it may be done on a 
looping machine as shown in Fig. 1945. This is a hand-fed machine 
and will make loops of any length from 114 inehes to 51% inches at a 
speed of from one to two thousand per hour. It punches the hole, in- 
serts the twine, draws it to the desired length, ties the loop, cuts it off 
and delivers the product to the receiving table all at one operation. 
Cards, pamphlets, etc., of any thickness up to 14 inch and round, oval, 
rectangular or irregular shapes from 7 inch in diameter to as large as 
20x25 inches may be handled on it. Other self-feeding models of the 
machine are made which have greater speed but less range in the 
classes of work they will do. 


EYELETING 


Shipping tags, calendars, samples of cloth, etc., require an eyelet 
which is inserted and clinched in a previously punched hole, to 
strengthen the hole and prevent tearing out. 

Eyelets are made of brass, zinc, and aluminum and come in var- 
lous sizes and lengths to meet demands. 


METAL EDGING 


Hangers, calendars and other matter are often bound with tin or 
brass at the top and bottom to hold the sheet flat while hanging. This 
is done with a special machine and an operation of the machine is re- 
required for each fold of the metal, which comes in flat strips and can 
be purchased in a number of colors and various lengths. 


ROUGHING PRINTED SHEETS 


To relieve a printed sheet of enamel coated stock of its high luster 
and gloss effect, it may be run through a stippling machine before it 
is folded or bound. The process is known as roughing and stippling 
or pebbling. The process consists of running the sheet through a ma- 
chine equipped with rollers the surface of which are roughened with a 
small grained design. 


ances 1% 


fete So PUnine Uh aati 


1$ 


ianapol 


h-Hecht Co., Ind 


J 


© Sm 


(Over) 


Fig. 1944B. An example of roughing or stippling 


The other side of this insert was printed in two 
colors from a set of line and halftone (150 line) com- 
bination plates and the sheet was roughed after 
printing. The plates were made from a photograph 
and pen drawing—the etching from the latter being 
“reversed.” 

(Over) 


Printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., 
Hamilton, Ohio. 


BoOKBINDING 679 


Square halftone, 133 line, no line. Subjects A, B, F, G and K were made from retouched photographs, all others from 
black on white halftone prints. The separate halftone negatives were stripped together and the white lines between sub- 
jects were cut in on the plate. Ais around hole perforator; B, round hole rotary perforator; F, rotary crimping machine; 
G, tab cutting machine, (A, B, F and G courtesy F. P. Rosback Co., Benton Harbor, Mich.); C, round corner cutter, 
(courtesy Seybold Machine Co., Dayton, Ohio); D, punching and eyeleting machine: ,, power punch, (D and E courtesy 
Southworth Machine Co., Portland, Maine); H, tape reinforcing machine (courtesy George R. Swart & Co., New York 
City); K, looping machine (courtesy Ward & McLean, Lockport, New York). 


Fig. 1945. Some of the machines used in finishing. 


Rollers are made in a number of different designs. The work is 
sometimes done less successfully on small surfaces or on a limited 
quantity of sheets by using a piece of emery or sandpaper or a coarse 
screen halftone as the male die, building a female die on tympan as in 
letterpress embossing and feeding the sheets between. This method 
must be used when only a certain space on a sheet is to be stippled, 
for a stippling machine can be applied only to the entire sheet. 


VARNISHING 


Printed sheets are often finished by varnishing before folding or 
trimming. Labels on which have been printed directions for use; 
wall maps, covers for booklets, catalogs, magazines, etc., that are to 


680 COMMERCIAL ENGRAVING AND PRINTING 


Courtesy American Type Founders Co. 
Outline-vignette halftone, 133 line. Made from a retouched photograph. 


Fig. 1946. Roughing or stippling printed sheets. 


receive usage that will make them especially liable to soiling, may have 
their usefulness increased and their attractiveness preserved by 
varnishing. Printed colors are also brightened and preserved, and the 
process is sometimes used for finishing prints from halftones in imita- 
tion of photographic prints. Best results are obtained on a good grade 
of coated paper. 

The machine on which the varnishing is done somewhat resembles 
a cylinder printing press. The sheets are set to guide in the same 
manner as for printing, but instead of being carried over a type form 
they are carried over a pliable composition roller, which distributes 
the varnish over one side of the sheet. The liquid varnish is supplied 
to the rollers from a fountain which can be regulated in much the same 
manner as the ink fountain on a printing press. After the sheet has 
passed under the roller, it is carried forward on a canvas web into a 


Courtesy Chembers Bros. Co., Philadelphia, Pa. 


rast halftone, 133 line, no line. The halftone negatives, made from separate retouched photographs, were stripped 
together. 


Fig. 1947. Sheet varnishing machine and a method of mounting for 
direct delivery of sheets into a steam heated drying box. 


f cS ee ay “4 
. Zap 
1 yp 


Fig. 1948 (on opposite side) is an example of a printed 
sheet varnished. 


Square halftone, 150 line, no line. Made from a photograph. 


Printed from a wax mould electrotype from a part of the plate used in printing the other side of this sheet. 


ts 1949. A part of the same subject as on the other side of this 
sheet, and as it appeared before varnishing. 


Printed on 25x88—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., 
Hamilton, Ohio. 


BooKBINDING 681 


drying oven, which is kept at a high temperature, thus thoroughly 
drying the sheet while passing through. 

In varnishing sheets by the above process, of course, the entire 
surface of one side of a sheet is covered. In case only the printed il- 
lustration or a certain part of a sheet is to be varnished, the work may 
be done by using a flat tint block and running the sheet through the 
printing press in the same way as in printing the job but with varnish 
on the rollers instead of ink. 


GUMMING 


The gumming of sheets is done in a manner similar to varnishing 
them, in fact, in a great many establishments the same machine is 
used for both purposes. 

RULING 


The principle employed in ruling, is not at all like that employed 
in ordinary printing. The construction of the machines is such that 
the sheet of paper which is to be ruled is carried along on cloths which 
bring it in contact with special pens so spaced on a cross bar imme- 
diately above the sheet as to produce ruling. These pens are contin- 
uously fed with fluid ink (very similar to that used for writing pur- 
poses) by means of loosely twisted woolen cords called zephyrs, one 
end of which is looped around the pen, the other end of which dips 
into the ink well or comes into contact with a strip of woolen cloth 
saturated with ink which takes the place of the ink well. The letters 
and arrows in Fig. 1950 refer to parts of the machine as follows: 
A, automatic feeder; B, guide for the sheets from the feeder to the 
machine; C, the pens; D, ink saturated flannels; E, striker beams; 
F, upper cloth; G, ruled sheets; H and K, upper and lower cords for 
holding the sheets to the upper and lower cloths; L, lower cloth; 
M, lay-boy for stacking and jogging the ruled sheets. 

These woolen strips are laid on the cross bar just above the pens, 
aid by placing strips of metal or oiled paper between them so as to 


Hoh 


Square halftone 150 line, no line. Made from a slightly retouched photograph on which the letters and arrows were 
awn 
Fig. 1950. Hickok two-beam ruling machine with automatic feeder. 


682 COMMERCIAL ENGRAVING AND PRINTING 


prevent the ink from mixing, several may be laid one on top of the 
others, as shown in the illustration, thus enabling the ruler to rule two 
or more colors at the same time. Zephyrs from the faint blue flannel 
run down to the pens which are to do the faint blue ruling; zephyrs 
from the red flannel to the pens that are to do the red ruling, etc. 


HOW SHORT OR BROKEN LINES ARE RULED 


Vertical lines, or ‘‘down lines’”’ as they are called by the operator, 
are made in the same way that the cross lines are made, except that 
they must usually begin or stop at a certain point instead of being al- 
lowed to run off the edge of the sheet. This is to allow for a printed 
heading above the ruling on such forms as statements and other similar 
sheets. Obviously the pens must be lifted from the paper at these 
points and this is accomplished by means of a cam which lifts the bar 
holding the pens. This lifting of the pens from the paper and letting 
them down again at certain points is technically called “striking” and 
it is remarkable how accurately the pens may be made to strike the 
paper and be lifted from it at exactly the right place. 


THE MANIFOLD UNDERLIFT 


It is obvious again that some of the down lines or even some of the 
cross lines should be shorter than others for complicated records, and 
this need has resulted in the perfecting of what is called the manifold 
underlift, which is essentially an arrangement of thin pieces of metal’ 
called spoons, so spaced just back of the slanting pens as to lift certain 
of the pens at certain points without disturbing the others. 


bc ” 


L TYPE RULING MACHINE 


In many establishments there is in operation the “L” type of 
ruling machine, designed to do both the cross ruling and the down 
ruling in one operation. They are called ‘‘L’’ type machines because 
the sheets must be turned after the cross ruling is done, or the direc- 
tion of the sheets through the machine must be changed. Asa matter 
of fact, the ‘‘L’’ type machines are nothing more in principle than 
two straight feed machines set at right angles to each other so that as 
the sheets are delivered from one machine they are received on tapes 
and fed into the second machine in such a way that the two rulings are 
at right angles with each other. Some of the biggest concerns special- 
izing in ruled goods have what are called quadruple “L”’ ruling ma- 
chines which not only do the cross ruling and the down ruling in one 
operation but rule both sides of the paper at one time through the 
machine. 

DISC RULING MACHINES 


Some kinds of cross or plain ruling can best be done on disc ruling 
machines, which transfer the ink from the fountains to the paper by 
means of thin revolving discs. One advantage claimed for these ma- 
chines is that they are less delicate and require less attention than the 
pen ruling machines. However, it is not possible to do as accurate 
striking and lifting with them as with the pen rulers. 


aoe val i 
oa a 


Feint cross line. 


Foot line. 


Fig. 1951. 


Down lin 


comme Golhoad kee 


Fig. 1953. as ae 


| ; : : : 


= Fig. 1955. Graph or quadrilateral. 
Some of the common ruled forms. 


8—54 Ib. (Substance No. 36) White Linen Record, made by Byron Weston Co., Dalton, — 


: a : - ee - rr 


BOOKBINDING 683 


Square halftone, 150 line, no line. Made from a slightly retouched photograph. 


Fig. 1956. Striking-bars with pens and ink saturated 
cloths on ruling machine. 


AUTOMATIC RULING MACHINES 


The introduction of vertical filing systems and the demand for 
ruled cards has become so great in recent years as to justify the manu- 
facture of automatic card ruling machines capable of a large output. 
Tablet and other special work is also produced in large quantities. 

This demand for quantity production has brought about the adap- 
tation of automatic feeders to ruling machine requirements. These 
automatic feeders work on the same principle as the feeders for print- 
ing presses described elsewhere and practically double the output of 
the machines. 


PREPARATION OF COPY FOR RULING 


From the description of the manner of ruling it should be clear that 
the number of times a sheet must be run through the machine, the in- 
tricacy of the copy and the number of strikes and lifts made necessary 
are all elements entering into the cost. Business men, and account- 
ants can hardly be expected to possess a sufficient knowledge of ruling 
to prepare copy which will meet their requirements and which at the 
same time can be produced at a minimum cost. Men who know should 
be consulted as to the correct copy. Often a slight change in the form 
which involves no great difference in the manner of keeping the records 
will mean a big saving in the cost of the ruling. 

It is well to bear in mind in this connection that ruled lines should 
be spaced according to pica measurements, since often the printer is 
required to print numbers, questions, etc., between the lines, and un- 
less the lines are properly spaced the printer cannot depend upon his 
regular equipment of leads, quads, etc., but must resort to the use of 
thin strips of paper or cardboard to space out his lines. The pens are 
also spaced on the millimeter system. 


684 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1922C. Halftone, 60 line screen. Fig. 1923C. Halftone, 85 line screen. 


Fig. 1924C. Halftone, 100 line screen. 


Fig. 1926C. Halftone, 133 line screen. Fig. 1927C. Halftone, 150 line screen. 


Pages 681 to 688, inclusive are printed on 25x38—100 lb. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


BOOKBINDING 685 


a xX \" 


a i I iN \ 


Fig. 1928C. Open or grey haiftone, Fig. 1929C. Line etching on zinc 
120 line screen. from a pen drawing. 


—— 


y 
~ : 
. hb) vi 
. 3 
5 ‘Ee 
1 
} 
jake 
: ™ 
ayer 
el beat Tahoe OT ae 
SOU AE rUrsrenmeseesr oe 


SURPRISED 
ee es AS ET PEE AD OS Ma > - 


Matera 


Fig. 1930C. Tine sae on zinc 
from a crayon drawing. 


The illustrations on this and the opposite page are a part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


686 COMMERCIAL ENGRAVING AND PRINTING 


PAPER CUTTING 


Paper, as it comes from the paper making machine, is in the form 
of a long continuous web in a roll. To convert the web into sheets, it 
is unwound and passed through a slitter to cut it into narrower widths 
if desired, then usually on the same machine, these narrower webs pass 
under one or more revolving knives which can be so adjusted as to cut 
the paper, a sheet at a time, into the desired lengths. These sheets are 
then trimmed to regular stock or special sizes, on a paper cutting ma- 
chine and wrapped and cased for shipment to the jobber. When the 
printer obtains the paper for the job of printing in hand, it is often 
found that the stock size sheet must be cut into smaller sheets, or a 
part of the sheet trimmed off to obtain the size suitable for the work in 
hand, or if the job is to be printed in more than one color and these 
colors are to register closely, the sheets must be trimmed on one or more 
sides, or squared, that the forms may properly register when printing. 
As the mill trim is not always perfect, there are but few jobs that do not 
require trimming before or after being printed. Even the sheet that is 
not to be folded should usually be trimmed to provide proper margins 
and to freshen up the edges that may have been soiled in handling. 
If the work is a sheet to form a folder, the trimming is usually done 
before folding. Many jobs are also printed “‘two or more up,”’ to use 
the printer’s language; which means that when a large number of labels 
or other small forms are to be printed, several of them will be printed 
at one time on a large sheet and afterwards cut apart. The sheet may 
also ‘‘work and turn”’ which will necessitate cutting after printing. 
All pamphlets and books with flush covers that are bound by stitching 
or sewing are trimmed on the fore edge, head and tail after binding, 
and those with extended covers before the covers are put on, that the 
leaves may be separated and the margins properly proportioned. And 
here it might be mentioned that mistakes are often made in failing to 
provide sufficient stock for properly trimming margins. To provide 
proper trim at least one-eighth of an inch should be added to the fore 
edge, head and bottom of the trimmed size of each of the pages for a 
job that is to be folded, and that much all around when it is to be 
trimmed all around. 

Paper cutting is a very important step in the production of printed 
matter, and one that is not fully appreciated by most users of printed 
matter and by many of the producers of it. No matter how good the 
paper, or how well the designing, engraving, makeup and printing of 
the job may have been done, it can all be very easily ruined through 
a defective cutting machine or carelessness on the part of the operator. 
In fact, there is no machine in the press room, bindery or finishing 
department on which greater dependency is placed for efficiency and 
accuracy than the cutting machine. 

There are of course, several types and makes of machines and these 
range from the small card cutter and trimmer to the large power auto- 
matic clamp cutting machines as used in the larger printing and pub- 
lishing houses and paper mills. The types also include hand clamp and 
hand lever, and hand clamp and power machines, some with vertical 


BOOKBINDING 687 


Outline-vignette halftone, 150 line. Made from a retouched photograph. 


Fig. 1957B. The Seybold automatic clamp paper cutting machine. 


and some with shear stroke and they are made in sizes to meet all 
requirements. 

The sheets are trimmed or cut in piles, the height or thickness of 
the pile depending on the capacity of the machine and the kind of 
paper or stock being cut. The pile to be cut is placed on the bed of the 
machine under the knife and is brought into proper position by the 
aid of a movable back gauge and a side gauge. If an automatic clamp 
machine is used as shown in Fig. 1957B, the paper is automatically 
clamped by a horizontal clamp bar just behind the knife and is held in 
position while the knife by a lateral movement makes the cut. The 
operation of only one lever is necessary for each cut. The pressure on 
the clamp must be variable as hard papers require less pressure to hold 
than soft papers. The knife in the machine is also an important factor 
in successful cutting as it must be straight, of proper shape, thickness 
and bevel and must be kept sharp by proper grinding and honing. Also 
the entire machine must have the same care and attention in keeping it 
clean and oiled, that is given to any other machine from which efficient 
service is expected. The cutting sticks, usually of hard maple and 
three-fourths inch square, into which the knife passes after going 
through the paper, must be turned or replaced as often as necessary 
to obtain a clean edge on the lower sheets of the pile, and the clamp 
pressure must be so regulated that the stock being cut is not crushed 
or indented. 

On some machines, the back gauge is in two or more sections, each 
of which can be set at different distances from the knife, thus making 
it possible to cut piles of stock of different lengths at one stroke. 

Only straight cuts, entirely across the sheet, can be made on paper 
cutting machines—curved and irregular outlines being usually cut 
with dies on a die press. 


688 COMMERCIAL ENGRAVING AND PRINTING 


Line etchings on zinc. Made from pen drawings. 


Fig. 1958. Parallel folds. Fig. 1959. Right angle folds. 


ROTARY CUTTERS 


Large publishing houses and printing establishments which do 
considerable book and catalog binding are usually equipped with ro- 
tary cutters for cutting heavy boards, etc. The knives on these ma- 
chines are in the form of revolving discs, one or more of which may be 
movable and adjustable on a shaft; and the sheets are fed into the 
machine and cut into two or more strips as they pass through. These 
strips are then turned, and after the discs are re-set are fed through 
laterally, which cuts them into rectangular pieces. 

The same principle is often employed in cutting printed sheets as 
they come from a cylinder press, one or more of the discs being attached 
to the press in such a way as to split the printed sheets as they pass 
to the delivery table. 


FOLDING 


Perfect folding of the printed sheets is as essential, to quality in the 
finished work, as perfect register in printing color plates, or forms, 
on the sheets; for irregular or crooked margins will ruin the appearance 
of any work, regardless of excellency in typography and press work. 

Most of the folding was formerly done by hand and some classes 
of work such as extremely light or very heavy stock, stock with deckled 
edges, etc., are still best folded by hand, but the greater part of the 
folding is now done on folding machines, if the quantity to be folded 
justifies adjusting the machine. There are small folders for circular 
letter work, handling a sheet as small as 814 x 5% inches, and various 
machines for handling job and book work which are made for sheets of 
larger size, ranging from 12x 18 to 38x50 inches. These machines 
will make from one to five folds, and with adjustments, will handle 
book and pamphlet, parallel and oblong work. 

There are two basic folds, known as the parallel and the right angle 
folds, and all combinations are built up from these. A majority of 
jobs that reach the binder require only one or two folds to the sheet, 
but some require three or four or more. The number of folds that a 
sheet may receive and still lie flat depends upon the weight of the 
stock and the size of the folded page. When it is impossible or imprac- 


BooKBINDING 689 


tical to fold at one operation all of the pages that may be printed on 
one sheet, the form is sometimes so made up that the sheet upon 
which it is printed may be cut into sections and each section folded 
separately and then assembled. 


HAND FOLDING 


As a practical example of how hand folding is done to fold a 16- 
page sheet, the pages of which are numbered consecutively from one 
to sixteen, with eight pages printed on each side of the sheet, the sheet 
is taken by the left hand at the top right hand corner and bent over 
until pages 6 and 3 are exactly over pages 7 and 2 and when it is seen 
that the headlines and figures exactly register, the paper while being 
held in that position is creased down the center at the right with the 
folder. Pages 4, 13, 5, and 12 will now be uppermost. Pages 12 and 5 
are now folded over to register exactly with pages 4 and 13 and this 
fold is creased. Pages 8 and 9 will now be uppermost, and will merely 
require folding together. When the sheets thus folded are trimmed 
top, bottom and at right side, the result is a 16-page signature, the 
pages running consecutively one to sixteen. - 

It is essential that the method of folding a piece of printed matter 
always be determined before the layout is made, so as to avoid print- 
ing the text or illustrations across a fold; also because different makes 
of folding machines will fold the sheets in different ways to produce the 
same results. 

MACHINE FOLDING 


Many of the folding machines operate on the following principle: 
The printed sheets are fed into the machine either directly from the 
press, or by hand, or by an automatic feeder. These sheets are carried 


RRS 


Square halftone, 133 line, no line. Made from a slightly retouched photograph on which the background was 


dimmed with an air brush. 3 : ; 
Fig. 1960. The Cleveland folding machine. 


690 COMMERCIAL ENGRAVING AND PRINTING 


on tapes which bring them under the creasing arm, which dips down at 
the proper moment, strikes the paper from above and forces the middle 
of the sheet down until it is caught by two rollers. These draw the 
two halves of the sheet down and produce the first fold as the sheet 
passes between the rollers on to a second set of moving tapes. These 
tapes then carry the folded sheet to another position where another 
creasing arm comes down and forces the sheet through another set of | 
rollers which produce the second fold. It can easily be seen that as 
many folds are possible as there are sets of rollers in the machine. 
Some of these rollers are set so as to crease the paper one way, while 
others are set to crease it another way, thus both the parallel and right 
angle folds are obtained in the proper order as the sheet passes through 
the machine. 

Many special machines have been designed for different classes of 
work, and most of them adaptable to several uses, such as number 
and kind of folds, number of pages, size of sheet handled, inserting, 
pasting, etc. 

In folding a thick sheet of paper several times there is a tendency 
in the thickening folds to cause the paper to wrinkle. In hand folding 
it is customary to slit the sheets along these folds with a paper knife 
before making the last two or three folds, and most of the modern fold- 
ing machines accomplish this automatically. : 

The machine shown in Fig. 1960 was designed especially for folding 
direct by mail advertising literature such as circulars, broadsides, 
booklets, catalogs, etc., and will fold nearly 200 different forms in a 
wide range of sizes. It will also cut the sheets, score and perforate 
them with the folding operation 1f desired. 

The machine shown in Fig. 1961B will handle sheet sizes 12 x 16 
inches up to 35 x 48 inches. It is composed of five sets of folding rollers, 
four of which are placed at right angles to each other, providing 4-, 8-, 


oie 


Outline-vignette halftone, 133 line. Made from a photograph of a retouched photograph. 


Fig. 1961B. Dexter book and job folder with cross continuous feeder. 


BooKBINDING 691 


Line etchings on zinc. Made from pen drawings. 
Fig. 1962. Cleveland. Fig. 1963. Dexter. 


Manner in which sixteen pages are folded on Cleveland 
and Dexter folding machines 


16-, 24-, and 32-page signatures, and a set of rollers placed parallel to 
the third right angle fold, making 24 and 32 pages two or more up and 
the regular double letter fold. Circular, booklet and catalog work in 
large editions, two or more up in gangs are readily folded on it. 


SIGNATURES AND BOOK SIZES 


A printed sheet after folding is ready to be assembled with other 
folded sheets, if to be a part of a catalog or book, and is called a signa- 
ture. A signature usually consists of 16 pages, but it may comprise 4, 
8, 32 or even 64 pages. In former years before books were made up in 
such a great variety of sizes as at present, it was customary to describe 
the size of a book by referring to it as being quarto (4 to), octavo (8 
vo) or duodecimo (12 mo). These terms are not now commonly used 
but a quarto refers to a book that is nearly square and ranges in size 
from 7 x 814 to 10 x 13 inches, an octavo is about 6 x 9% inches, while 
a duodecimo is about 414 x 714 inches. These designations also for- 
merly referred to the manner of folding the signatures, a quarto being 
folded twice, to produce four leaves each of which would be one fourth 
the size of the original sheet. An octavo was folded to make eight 
leaves each one eighth the size of the original sheet and a duodecimo 
was folded for twelve leaves; although at present sixteen leaves are 
more often printed than twelve. 


SMASHING 


The binding of signatures into booklets, catalogs, étc., is usually 
facilitated by smashing them, by which is meant putting a bundle of 
them into a smashing press and compressing them to flatten the folds 


692 CoMMERCIAL ENGRAVING AND PRINTING 


Fig. 1922D. Halftone, 60 line screen. Fig. 1923D. Halftone, 85 line screen. 


Fig. 1924D. Halftone, 100 line screen. Fig. 1925D. Halftone, 120 line screen. 


Fig. 1926D. Halftone, 133 line screen. Fig. 1927D. Halftone, 150 line screen. 


Pages 689 to 696, inclusive, are printed on 25x38—70 Ib. Super Book, white, made by The Champion Coated Paper 
Co., Hamilton, Ohio. 


4 
7 


* 
ee note ne A 


Pare ee Pe 


693 


BOOKBINDING 


se 


MW 
TN ‘ 


MN iN Hy 


\ 
N 


“i, 


N ‘i 
‘| 


Fig. 1929D. Line etching on zinc 
from a pen drawing. 


i l] 
Wally Mi 


Fig. 1928D. Open or grey halftone, 
120 line screen. 


=~ 
—— 


ate oe 


Fig. 1930D. Line eee on zinc 
from a crayon drawing. 


say 
I 


it h 


4" 


ij 


part of a ‘series demonstrating the suitability of 
See explanation on page 672. 


Ss. 


Fig. 1932D. Line etching on zinc of lettering with machine shaded ground 


The illustrations on this and the opposite page are a 
different kinds of engravings to different kinds of paper 


694, COMMERCIAL ENGRAVING AND PRINTING 


and force the air from between the leaves. Smashing, however, is 
principally employed only in the binding of books when it is necessary 
to compress the assembled signatures before putting on the cover. 


BUNDLING 


The operation of smashing is usually combined with the operation 
of bundling, both being done at the same time on a bundling machine. 

The bundling machine is a horizontal press, with adjustable slid- 
ing ‘‘heads’’ between which the bundles of folded sheets or signatures 
are placed between wooden boards in readiness for being compressed. 
These heads are provided with large holes, in which the hands may 
be inserted to tie the bundle while it is still under compression. After 
the bundles are tied they are stacked away until such time as the 
various signatures are to be gathered and bound. Bundling also pre- 
vents the loss of sheets, and keeps them clean. 


GATHERING 


In the publication of booklets, catalogs, books, etc., which are 
made up of a number of printed sheets bound together, it is necessary 
to assemble the folded sheets in the proper order preparatory to bind- 
ing them together. This is called gathering. Except in large estab- 
lishments, gathering is usually done by hand. Stacks of separate sig- 
natures are placed before the operator in numerical order on tables; 
then starting in at one end of the table, the operator takes a signature 
from each stack in rotation and places it with the others thus gathered 
until upon reaching the other end of the table, she has assembled a 
complete book. Of course there is a variation in the way hand gath- 
ering isdoneinvariousshops. Some have revolving tables which bring 
the stacks of signatures consecutively in front of the operator while 
the operator remains seated. 


MACHINE GATHERING AND BINDING 


The publishers of practically all of the large magazines have auto- 
matic machines for folding, gathering, insetting, covering and binding. 
Otherwise it would be impossible to turn out the monster editions in 
the time required. Similar automatic machines are used in other 
large printing establishments for binding large editions of catalogs, 
books, directories, etc. There is also a machine that will automatically 
bind and cover a magazine or pamphlet in one operation, entirely 
dispensing with wire or thread and at the same time producing a flat 
opening book. 

COLLATING 


After the signatures for a book or other piece of bound printing 
have been gathered they are collated, which means that they are ex- 
amined to see whether they are arranged in the proper order. Collat- 
ing is often simplified and facilitated by printing a bit of rule on the 
sheet right where the outside fold will show, shifting this with each 
signature, so that when all of the signatures for one book are gathered 


BooOKBINDING 695 


Square halftone, 133 line, no line. The halftone negatives, from separate slightly retouched photographs, were 
stripped together. The white lines between views were cut on the plate. View A illustrates the method of bundling and 
smashing folded signatures; B, handgathering signatures; C, flat or side stitching; D, saddle stitching; E, wire stitcher 
feeder; F', book sewing by hand. 


Fig. 1964. Some operations in pamphlet and bookbinding. 


together a glance at the back of the assembled signatures show these 
black marks running regularly in stair-step fashion diagonally across 
the back of the book. 


INSERTING 


It is while the signatures of a book are being gathered that extra 
pages which may have been printed separately such as colored illus- 
trations, photogravures, or other separately printed sheets are in- 
serted. These are usually inserted by hand and may be stitched, 
sewed or pasted in, the method depending upon the nature of the in- 
sert and the location in which it is to be placed. In magazine binding 


696 COMMERCIAL ENGRAVING AND PRINTING 


_ Square halftone, 133 line, no line. The halftone negatives, from separate slightly retouched photographs, were 
stripped together. The white lines between the views were cut on the plate. View A shows method of sewing books 
by machine; B, making cases by machine; C, rounding backs, and D, books drying in standing presses. 


Fig. 1965. Additional bookbinding operations. 


this inserting is sometimes done by machinery. Examples of these 
methods will be found in the manner in which the inserts have been 
made a part of this book. 


TIPPING OR MOUNTING 


When a smaller sheet is attached to a larger one by pasting the edge 
of the smaller, or the entire under surface, to the face of the larger, the 
process is known as tipping on. This plan is often followed when it is 
desired to use a halftone and the paper to be used is not suitable for it. 
In such a case the halftone is printed separately on suitable stock, 
trimmed and then tipped on to the main sheet. The plan is also used 
for obtaining decorative effects on covers and other subjects and quite 
frequently a border or panel is provided on the main sheet by printing 
or embossing, or both, in which to tip the smaller subject. This plan 
adds considerably to cost on account of extra paper, presswork, trim- 
ming and the hand work in mounting the tips. The tips may also be 
attached to the main sheet by a machine, built especially for such 
work. 


ed USP 


WIRE STITCHING ee 


Pamphlets, booklets, catalogs and all of the less expensive 
forms of bound books, folders, etc., are wire stitched, that is, 
fastened together with light wire staples which are automatically cut 


BooKBINDING 697 


Square-outline halftones, 133 line, no line. Made direct from the originals. 


Fig. 1966. A tip-on on a card with a deckel edge (left) and a plated or 
ironed-out panel for printing a halftone on rough stock (right). 


from a spool of wire and driven through the paper and clinched by 
a machine. 

There are two general kinds of wire stitching—the saddle stitch and 
the side stitch. The former is so called because the booklet is opened 
in the middle when being placed in the stitching machine and saddles 
the feed bar while being stapled. In other words, the staples are 
driven through the back fold of the leaves and clinched in the middle 
of the book. On paper covered books, when the covers are trimmed 
flush with the inside pages, it is customary to saddle-stitch the cover 
on at the same time the inside leaves are stitched. 

Plants in which any considerable quantity of pamphlets or maga- 
zines are saddle back stitched are now equipped with one or more 
stitcher feeding machines, one type of which is shown in Fig. 1973. 
This machine has a long traveling saddle, alongside of which girls sit 
and place inserts, signatures and covers astride the saddle, the ma- 
chine heading them up as the conveyor moves forward, delivering the 
assembled book to the feeding mechanism, which handles it while 
being stitched, after which it is delivered ready for trimming. 


SIDE STITCHING 


When the number of pages in a booklet or catalog is such as to 
make saddle stitching impractical, side stitching is used; i. e., the wire 
staples are driven through the entire thickness of the book. When 
this method is used, the work is usually folded into two or more sig- 


698 CoMMERCIAL ENGRAVING AND PRINTING 


natures and these are assembled as if for sewing, and then stitched. 
Some of the stitching machines made will punch and staple a book as 
thick as two inches. Many magazines are side-stitched with covers 
glued on, and most catalogs and booklets of more than 64 pages are 
similarly bound. The greatest objection to the side-stitched book or 
catalog is the fact that it will not open flat like a saddle stitched book; 
but in other respects side stitching affords a very practical and a 
substantial method of binding for books, magazines, etc., with flexible 
covers. 
BOOKLETS TIED WITH CORD 


A favorite method of making a booklet more attractive is to tie the 
cover on with a silk cord. But it is customary even when tying with a 
cord first to saddle stitch the cover on with at least a single staple. 
Holes are then punched through the book fold and the cord is threaded 
.through these holes and tied. Sometimes when the booklets are not 
too thick the cord is threaded through by hand with needles, without 
the books being first punched. Occasionally the holes are punched 
through from the side and the booklets are tied in this way. There 
are machines on the market for doing work of this kind, but the demand 
for booklets tied with cord is not sufficient to justify many printers 
having them. 

FLUSH AND EXTENDED COVERS 


It usually adds to the appearance of the booklet if the cover be 
made to extend slightly beyond the edge of the body or inside pages. 
When an extended cover is to be put on, both the inside pages and the 
cover must first be trimmed before the cover is put on and stapled. 
Also in stitching the cover must be carefully placed on the body so as 
to get an even margin all around; and in order that the inside leaves 
may not slip when being stitched into the cover, it is necessary first 
to stitch the body separately with a single staple. These extra oper- 
ations of course take extra labor and this will explain why it costs more 
to put on an extended cover than one that is trimmed flush with the 
inside pages. 

SECONDARY COVERS 


These are also known as end sheets, and are extra sheets of cover 
paper, usually of same stock but of lighter weight than that used for the 
cover proper, and they are placed between the cover and the body of 
the book for the purpose of embellishment. They are used either 
plain, or printed with a decorative design, and are usually trimmed to 
the size of body pages. One-half of the sheet is sometimes used as a 
pasted down end sheet on the inside of the cover, this part serving as a 
lining while the remaining half is used as a flyleaf. While this method 
is usually used to give a more finished appearance to the work, it is 
also often used to cover up the inside side of the cover when it has 
been embossed. 

HAND SEWING 
Books that are intended to have a permanent use, and books that 


are to be used a great deal, should in most cases be sewed. A sewed 
book will open flat at any point, and the leaves do not easily pull out. 


BooKBINDING 699 


Formerly all books were sewed by hand, but machine sewing is now 
taking the place of hand sewing on all but the more expensively bound 
books. Sewing by hand is a slow operation. A frame is provided upon 
which are strung vertically a number of cords or tapes, which are to 
serve as the hinges of the book. It is the task of the operator to sew 
the signatures of the book together upon these hinges. This is done in 
various ways. 

If it is desired to conceal the cords, so that they will not appear as 
ridges on the back after the cover is put on, the signatures are sawed 
or notched along the back fold to correspond with the position of the 
cords. The operator then takes the first signature, lays it on the base 
of the frame, with the notches in the fold fitted against the vertical 
cords. The needle is then pushed through the fold of the signature 
about one and one-half inches from the ‘‘far”’ end, the signature mean- 
while being opened in the middle with the other hand so that the 
needle comes through the fold exactly at the middle of the signature. 
The thread is then drawn almost through and the needle is pushed out 
through the fold at or near the first notch and the thread is looped 
around the cord before being drawn back through the fold. The thread 
is then looped in the same way around each of the cords in turn and 
brought out finally near the other or ‘“‘near” end of the signature. 

The next signature is then placed in position and the same opera- 
tion is repeated, except that the operator works from the ‘‘near”’ 
toward the ‘‘far’’ end of the signature, bringing the needle out just 
above the point where the thread first entered the first signature. 


THE KETTLE STITCH 


The next signature is then placed in position and the sewing pro- 
ceeds as before, except that before passing the needle into the fold of 
each new signature, the thread is looped around the thread of the pre- 
ceding signature, thus forming what is called the “kettle stitch.”’ 


SEWING ON BANDS OR TAPE 


One of the best ways of sewing a book is to sew it on or through 
tapes. In either case the tapes are simply substituted for the hinge- 
cords, and sewing on the tapes is done in exactly the same way as sew- 
ing on cords, except that the signatures are not first sawed or notched. 
When tapes are used the needle and thread are passed through the 
tapes instead of over them. Needless to say this makes a very sub- 
stantial book. 


INSERTING TAPES BETWEEN SIGNATURES 


One of the most troublesome problems in commercial printing is 
that of binding medium sized catalogs so that the covers will not come 
loose with constant handling. Most catalogs in this class have only 
heavy paper covers, which are glued on to the body of the book, and 
this throws most of the strain on the two outside leaves to which the 
cover is glued. If these tear out, as often happens, there is nothing to 
hold the cover except the thin layer of glue along the back edge. A 
good way to overcome this weakness is to insert between the first and 


700 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1922E. Halftone, 60 line screen. Fig. 1923E. Halftone, 85 line screen. 


Fig. 1924E. Halftone, 100 line screen. Fig. 1925E. Halftone, 120 line screen, 


Fig. 1926E. Halftone, 133 line screen. Fig. 1927E. Halftone, 150 line screen. 


Pages 697 to 704, inclusive, are printed on 25x38—70 Ib. Machine Finish Book, white, made by The Champion Coated 
Paper Co., Hamilton, Ohio. 


BOOKBINDING 701 


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Fig. 1928E. Open or grey halftone, Fig. 1929E. Line etching on zinc 
120 line screen. from a pen drawing. 


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Fig. 1930E. Line etching on zinc 
from a crayon drawing. 


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MANUFACTURERS GE = : 
Epace Toots & MAcHINERY FOR WOODWORKERS ~~ = 


Ih —— 


The illustrations on this and the opposite page are a part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


702 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 133 line, no line. Made from a black on white print from a halftone. 


Fig. 1967. Some styles of sewing. 


second signatures, a narrow strip of cloth or tape which is brought 
over the fold of the outside signatures and glued to the cover. Often 
these strips of cloth are pasted over the folds of these signatures be- 


fore they are gathered, and the signatures are then sewed into the book — 


just as if the strip were not there. It can readily be seen that the use 
of a re-inforcing strip over the folds of the two outside signatures, a 
strip sewed right into the book, relieves the strain on the outside leaves 
and lessens very much the chance of the covers pulling off. 


MACHINE SEWING 


While hand sewing is still generally conceded to be superior to 
machine sewing, the improvements recently made in book sewing ma- 
chines make machine sewing preferable for many classes of work, 
especially when the cost is taken into consideration. Plain sewing, 
sewing on cords, tape, crash, raised or sunken bands—in fact, every 
kind of sewing known to book binders—can now be accomplished on 
machines. The principles employed are the same as in hand sewing, 
and the several makes of machines on the market are all adjustable 
to books of various sizes and shapes. These machines will take the 
place of from four to ten hand-sewers, depending upon the nature of 
the work. ; 3 

SEWING AS IT AFFECTS THE COST 


Some printers and binders are emphatic in the statement that ma- 
chine sewing is invariably inferior to hand sewing. The usual differ- 
ence is probably not so much due to the use of the machines, as to in- 
definite specifications regarding the manner of sewing. The subject 
of binding is of such a technical nature, and involves the use of so many 


. 
‘y 


BooOKBINDING 703 


technical phrases, such as the “‘all-along’’ and the “two-along”’ style 
of stitch, sewing ‘‘on”’ or “through” tapes, “raised” or ‘sunken”’ 
cords, etc., that the only way to make sure of getting the style of bind- 
ing best suited to one’s purpose is to first have a dummy bound before 
deciding definitely on the specifications. 

In Fig. 1967 is shown several different methods of sewing. At the 
left is a book showing plain sewing and braiding over tapes and reading 
towards the right in the order mentioned is plain sewing; plain sewing 
and sewing on sunken cords; plain sewing and sewing and braiding 
through tape and at extreme right plain sewing and sewing through 
tape. 

FORWARDING 


The various operations that are performed in binding a book, from 
the time the sewing is done until it reaches the finisher, are collectively 
referred to as forwarding. Under this heading are included such oper- 
ations as smashing, trimming, rounding, inserting, gluing on end 
sheets, crash, paper lining, head-bands, etc., and casing in. Even 
though the signatures may have been smashed before being bound, 
it is customary to compress the books again after they have been 
sewed, to reduce the sewing swell at the back. 


TRIMMING 


The next step is the trimming, which is done on a power cutter. 
Some of these cutters trim only one side at a time, others two sides, 
and others three sides at one time. The trimming cuts off the surplus 
margins and the fold of the signatures, permitting the leaves to open. 

When the books come from the trimming machine they are uniform 
in size and the edges are all straight and even. It is necessary to have 
the knives very sharp, especially if the edges are to be gilded or tinted, 
as any nicks in the knife show up very plainly on the trimmed edge. 


Outline-vignette halftone, 150 line. Made from a retouched photograph. 
Fig. 1968. Seybold three-knife book trimmer. 


704. COMMERCIAL ENGRAVING AND PRINTING 


In trimming books or pamphlets on modern automatic cutters on 
which the back gauges are in three sections, the back gauge may be 
offset for the three distances from the knife required for trimming the 
book on the three edges. Thus three piles may be placed for trimming 
at one time. Each stroke of the knife, therefore, trims the fore edge 
of one pile, the top edge of another pile and the bottom edge of the third. 

One of the special book trimming machines, the Seybold “Dayton” 
three-knife book trimmer, is shown in Fig. 1968. This machine has a 
range in adjustment whereby it will accurately trim pamphlets or books 
from 5 inches to 24 inches in length and from 2% inches to 12 inches in 
width, it being possible to adjust for any size within these dimensions 
within a few minutes. The front knife makes the first cut and the two 
end knives, which trim the head and tail, cut from the back toward the 
front of the book simultaneously and as the front knife returns to its 
highest point. An automatic compensating clamp provides for the 
extra thickness at the back or folded section of the books. 


ROUNDING THE BACK 


Books with stiff covers are usually made with rounded backs, as 
this not only enhances their appearance but also tends to prevent the 
middle signatures from drawing to the fore edge. A flat book will be- 
come concave when opened and closed many times. The first step in 
rounding is to apply a coating of glue to the back with a stubby brush, 
the object being to rub a sufficient amount of the glue between the sig- 
natures to hold them together. Then while the glue is still plastic the 
book is laid, first one side down, then the other, on the table while the 
book is gently hammered into the rounded form with a mallet. Books 
rounded by machine are treated in much the same manner, except that 
rollers do the work of the hammer. 


BACKING 


Then follows the operation of backing, by which is meant spread- 
ing out the back folds of the signatures fan-shape. Backing permits a 
freer opening of the book, absorbs the sewing swell, and enhances the 
appearance by making the back flush with the covers. This operation 
was formerly accomplished entirely by hand, but is now largely done 
by machines which do both the rounding and backing at one operation. 


' LINING AND HEAD-BANDING 


After the books are rounded and backed, they are usually stacked 
up in alternate order, while ‘‘super,”’ 2. e., very loosely woven cotton 
cloth or paper strips are applied to the back. It is at this point, too, 
that the head-bands on the better grade of books are put on. These 
serve little purpose except to add to the appearance of the book, and 
they usually are made up in long strips from which short lengths are 
cut and pasted on the backs, top and bottom, before the covers are put 
on.- The head band is simply a narrow strip of cloth, silk, or calico 
folded over a cord. 


BooKBINDING 705 


COVERS 


There are two general classes of covers, flexible and stiff. Stiff 
covers are usually referred to by the binder as boards. Catalogs and 
booklets are usually covered with heavy paper, referred to by printers 
as cover stock; although many of the more important catalogs are 
bound with cloth. 


INTEGRAL COVERS 


Some booklets, when economy is necessary, are bound without 
special covers. The entire booklet, or a signature of it, is printed on 
one sheet, the cover pages being so placed in the form that when the 
sheet is properly folded these pages serve as the front and back cover. 
In order to make these pages resemble covers they may be printed 
with special designs with the usual margins, or printed from plates 
larger than the page, so that the printed design will run off the edges— 
or “bleed off’—when the booklet is trimmed. This is also some- 
times called a self-contained cover. 


PAPER COVERS PRACTICAL FOR MANY USES 


For many classes of catalogs and books, paper covers are just as 
satisfactory as any other kind. Indeed they are especially suitable for 
books that are to be referred to constantly, such as catalogs, directories, 
price lists, etc., because, being flexible, they permit “thumbing the 
pages” to find what is wanted. For practicability a catalog with covers — 
trimmed flush is better than one with extended covers. The variety 
of cover papers on the market is so wide as to offer very little restric- 
tion to the production of artistic effects in cover designs. Some papers 
are especially strong, some especially suited for embossing, some for 
folding, etc. 


DIFFERENT WEIGHTS OF COVER PAPERS 


Nearly all of the most popular cover papers come in two or more 
thicknesses. The light and medium weights are used for the smaller 
booklet covers, and the light weight is often used for end sheets in 
connection with the heavy weight for catalog covers. The heavy 
weight is principally used for catalog covers and quite often without 
end sheets. Sometimes when a cover of extra stiffness is wanted the 
covers are doubled back inside so as to give two thicknesses. When 
paper covers are glued on only, they should be scored, 7. e., creased 
near the binding edge, so they will bend without breaking. 


BOARD COVERS 


For certain classes of books, such as school books, board covers are 
extensively used. Thin paper, blank or printed, is pasted over the 
board or other material used to give the stiffness to the back. The 
cover paper in this method is used for the covering instead of cloth, as 
with the cloth-bound books. 


706 COMMERCIAL ENGRAVING AND PRINTING 


CLOTH, THE BEST COVER MATERIAL 


Cloth is the best all-round cover material because it is adapted to 
practically all kinds of books, from the cheapest to the most expensive. 
It is more durable than either paper or leather, and comes in such a 
wide variety of grades and patterns as to furnish almost an unlimited 
range of styles and colors. There are several mills that make cloth 
for book covers exclusively and they will gladly send samples to meet 
special requirements, if these requirements are made known to them. 
Book cloth, however, is sold to the printer through the jobber and by 
the printer to the consumer in the finished work. Most printers have 
sample books of these cloths or can easily get them. Thus, it is almost 
as easy to obtain samples of a line of cover cloths from which to make 
a selection as it is to obtain samples of paper cover stock. 

When desired, practically any of the grades, patterns or colors of 
cover cloth may also be obtained embossed in imitation of any one of a 
number of leather grains. 

Cloth is furnished in rolls, usually 38 inches wide, about 40 yards to 
the roll and is sold by the yard. 


BUCKRAM, DUCK AND CANVAS 


Most law books and other heavy books that are frequently referred 
to are now bound in buckram, which is a coarse, open-wove cotton or 
linen fabric, usually dyed a light brown in imitation of leather, which 
it has largely replaced. Duck or canvas, which is a strong, heavy, 
cotton cloth, firmly woven, is used principally for covering ledgers, 
cash books, post binders, etc. 


LEATHER BINDING 


In earlier times when it was customary to bind books entirely by 
hand, leather was thought to be the only suitable covering for a book 
that aspired to permanency. Even today the finest editions are bound 
in leather, not only because of the strength, flexibility, surface, and 
durability of leather, which adapt it to book covering, but also be- 
cause leather bindings have become associated with books of quality 
in the public-mind. Fewer and fewer books are being bound in leather 
each year because competition has lowered the quality of leather to 
be obtained for this purpose, while at the same time the price has ad- 
vanced, and because leather is not adapted to machine methods of 
binding. Leather is sold to the binder by the hide at so much per 
square foot; the price varies and depends: on the thickness, quality and 
size of the hide. Most of the commonly used leathers are obtainable 
in a large number of colors. 


KINDS OF LEATHER USED FOR BINDING 


The leather most used for binding is made of the skins of goats, 
sheep, cattle, horses, pigs and seals. More goat skin and cow hide in 
various forms is used than any other. Most of the best leather for 
binding books originally came from Morocco, in northern Africa, whence 
the name Morocco. Morocco is made of the skins of goats and is re- 


BooKBINDING 707 


garded as the most attractive of all leathers for book binding. It re- 
tains its flexibility and color to a remarkable degree, yet offers a hard 
surface that is not easily damaged by friction. The most popular 
colors of Morocco are red, green and black. 


SEVERAL KINDS OF MOROCCO 


In addition to the regular Morocco, which can be distinguished by 
its firm texture and natural grain, there is also Levant Morocco and 
Crushed Levant, which has a delicate grain of cobweb pattern; Oasis 
Morocco, which is made from African antelope specially tanned and 
dyed in serviceable shades; and Persian Morocco which, while much 
less expensive than genuine Morocco, has a smooth, tough surface well 
suited to hard wear, but not for permanency. ‘Persian calf” is a 
misnomer, as the leather is made from the skins of hardy Persian 
mountain sheep, and merely resembles calf. 


“‘RUSSIA,”’ AND COWHIDE 


“Russia” is a trade name referring to leather that was originally 

made in Russia from the hides of young cattle and always dyed red. 
It is now made in different countries from horsehides (called cordo- 
van), calf, goat, and sheep skins, and comes in various colors. Much 
of the leather now sold as ‘‘ Russia”’ is not durable. 
__ American cowhide is now regarded as better than Russia and is 
widely used on blank and account books, where durability is the first 
requirement. Cowhide buffings are sometimes substituted for cowhide. 
Buffing is the thin grain portion split from the cowhide and is quite 
inferior to the full grain leather. 


SHEEPSKIN 


Sheepskin is a very pliable leather as well as a durable one and is 
practical for many classes of books. There is, however, a great differ- 
ence between the skins of the hardy mountain sheep and those of the 
plains. A favorite method of using sheepskin is to turn the flesh side 
with its soft velvety surface out and use it for flexible bindings. It is 
then called ooze sheep and, while the edges are sometimes turned in, 
more often they are smooth cut and allowed to extend one fourth of - 
an inch or more. When finished in gray, ooze sheep is called limp 
suede. 

““FLESHERS”’ AND ‘‘SKIVERS”’ 


Sheepskin, as well as cowhide, is often split, the underside being 
then called flesher, and the upper or grain side, skiver. These fleshers 
and skivers are then often embossed and finished in imitation of the 
various leather grains, and are used where a heavy leather is not 
required, or to lessen expense. 


PIGSKIN, SEAL, ETC. ~ 


Pigskin is very durable because of its coarse, tough fibers and is 
used for binding heavy volumes and blank books. 

Seal is similar to the best Morocco, but of course not so easy to 
obtain. 


708 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1922F. Halftone, 60 line screen. Fig. 1923F. Halftone, 85 line screen. 


Fig. 1924F. Halftone, 100 line screen. Fig. 1925F. Halftone, 120 line screen. 


Fig. 1926F. Halftone, 133 line screen. Fig. 1927F. Halftone, 150 line screen. 


Pages 705 to 712, inclusive. are printed on 25x38—30 lb. Seaman Opacity Bible Paper, made by Seaman Paper 
Company, Chicago, Illinois. 


BooKBINDING | 709 


Nx, 

\\ Ns I 

NY | My \ 
Ni 


) i 
oy i 
WN \ li u Vs ) | y i) 


Ky 
SS 
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Fig. 1928F. Open or grey halftone, Fig. 1929F. Line etching on zinc 
120 line screen. from a pen drawing. 


> 43 Cur on 


Fig. 1930F. Line etching on zinc Fig. 1931F. Wood engraving. 
from a crayon drawing. 


Eoace Toots S Machinery FoR WooDworKERS SS 


Fig. 1932F. Line etching on zinc of lettering with machine shaded ground. 


The illustrations on this and the opposite page are a part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


710 COMMERCIAL ENGRAVING AND PRINTING 


IMITATION LEATHER 


There are now on the market many textile fabrics in imitation of 
leather. These fabrics are made under different names, such as Fab- 
rikoid, Pantasote, Texoderm, Pluviusin, Keratol and Rexine. Many 
of these materials are not only cheaper but superior to the cheaper 
grades of leather and they are used very extensively. 


COVER MATERIALS 


In Fig. 1970 is shown reproductions of a number of the most used 
book coverings. In making this, samples in colors that would photo- 
graph well were taken from a jobber’s sample book and these photo- 
graphed. The photographic prints were trimmed and mounted in a 
group as shown. Proof from type of the lettering was arranged for 
double printing. The illustrations show the materials in actual size. 


STYLES OF BINDING 


The manner of binding books and booklets may be grouped into 
four classes, and. by those in the trade the classes are commonly 
referred to as soft binding, which includes pamphlets and catalogs on 
which paper covers have been wire stitched, tied or glued; edition 
work in hard binding wherein the books are sewed and the boards are 
covered with paper, cloth, leather or other material, and which are 
usually produced in large quantities; law book binding and blank. 
book binding which includes loose leaf, ledger and other record forms. 
In Fig. 1969 styles A, B, C and P are types of soft binding; D, E, F, G, 
H, K, L and M are types of edition work and N, O, R, S, T and U 
types of blank book work. Law book binding is illustrated in detail in 
Fig. 1971. In Fig. 1969 is shown in A a saddle wire stitched booklet 
with cover trimmed flush with the inside pages; B, aside stitched book- 
let with extended cover glued on; C, a cover trimmed flush with inside 
pages, tied with cord and saddle wire stitched; D, board sides covered 
with printed paper; E, full cloth; F, printed paper over board sides, 
cloth back and die-cut oval print tipped on side; G, half leather 
(edition); H, three quarter leather (edition); K, full leather; L, 
flexible leather; M, limp leather or Oxford; N, flexible leather ring 
binder; O, three quarter corduroy loose-leaf binder; P, check or strip 
binding; R, half bound (ledger); S, three quarter bound (ledger, 
note raised bands and spring back); T, end and band ledger binding 
and U, full extra ledger binding. While the styles illustrated are more 
or less standard, they are subject to considerable variation in treat- 
ment, in materials used, shape and other details. 


LEATHER BINDING 


Edition books bound with leather, either wholly or in part, are 
referred to as being full bound, half leather or three quarter leather. 
A full bound book is one which has a cover made of a single piece of 
leather extending entirely over both covers and the back. A half 
leather bound book is one that has a leather back with the leather 
extending over about one third of the cover, the rest of the cover being 


BoOoOKBINDING 711 


Double print square halftone, 133 line, with line. Made from slightly retouched photographs. The books were 
photographed in groups and the prints trimmed to obtain a separate print of each book. These were mounted as shown 
on a white card. Proofs from type of the lettering were arranged for double printing. 


Fig. 1969. Styles of binding. 


712 COMMERCIAL ENGRAVING AND PRINTING 


cloth. A three quarter leather binding is the same as the half leather 
binding except that the corners of the book are covered with leather 
the same as the back. A full bound book may of course be in either 
stiff boards or limp. A full bound book is the most pleasing to the eye, 
but a half leather or three quarter binding is practically as durable and 
when on the shelf, where only the backs are in sight, look as well as 
the full,bound. The limp or flexible binding should not be used on 
books that are to stand on shelves, but only on such books as will prob- 
ably lie on tables or upon shelves specially provided for them. 


PUTTING THE COVER ON THE BOOK 


There are two principal ways of putting covers on books. One is to 
build the cover on the book by hand by first fastening the boards, as 
they are called, to the ends of the cords in the back of the book which 
have been left with an extension of about one and one-half inches for 
this purpose. The boards are cut the right size and laid upon the body 
of the book; holes are punched near the binding edge with an awl, and 
the ends of the cords are laced through these holes by hand. Usually 
a piece of paper is pasted over the back so as to extend about one inch 
onto the board. After a number of books have been forwarded up to 
this point the binder then applies a coat of glue to the cloth or leather 
which has been cut for the binding and stretches it over the boards, 
smoothing down all the wrinkles and turning the edges over. The next 
step is to paste one side of the end sheet, which has previously been 
tipped on to the front and the back signature of the book, and fit it to 
the inside of the cover. This covers up the cloth or leather that has 
been folded over the edges and helps to attach the cover to the body 
of the book. Of course, there are variations in the manner of putting 
on covers by hand but the above description gives one a general idea 
of the process. 

In Fig. 1971 this method is fully illustrated. In A the book is shown 
after it was sewed; B, after trimming; C, after rounding the back; 
D, after the boards were attached to the tapes; E, after adding the 
bands and lining; F, after the outside covering material has been 
stretched over the boards; G, after the edges of the covering material 
have been turned in; and H, the complete book after it has a" 
titled, pressed and dried. 


READY MADE COVERS OR CASES 


The other method of putting on covers is first to make the covers 
separately and fit them on the books later. Covers made in this way 
are referred to as cases. In many shops these cases are made by hand 
in quantities and laid away until they are needed for the books. Many 
of the larger publishing houses have case making machines, which will 
make cloth cases at the rate of a thousand or more per hour. Pub- 
lishers that do not have case making machines often have cases made 
for them on machines or buy standard stock cases. There are establish- 
ments that make a business of furnishing cases to binders. Of course, 
only the cheaper books are bound in ready-made cases of this kind. 

* This method is illustrated in detail in Fig. 1972. In A is shown the 


BooOKBINDING 


fre 
ae 


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PEM nine tron ae 
beeen es Ma teat odie 
? Prete re Par BP Bs . 


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UNDRESSED SHEEP 


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ALLIGATOR 


Double print square halftone, 175 line, no line. Made from unretouched photographs grouped. The white lines 
between the views were cut on the plate. 


Fig. 1970. Cover materials. 


714 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 133 line, no line. Separate photographic prints of the different views were cut out and mounted 
on a white card on which the background and reference letters were drawn. 


Fig. 1971. Steps in law book binding. 


loose signatures which have been gathered ready for sewing (note the 
printed marks running in stair-step fashion on back of folds for de- 
tecting incorrect position of signatures) ; B, after sewing and trimming; 
C, after rounding and backing; D, after lining and headbanding; 
E and F, inside and outside views of made up and stamped case; and 
G, the cased-in or finished book after pressing and drying. 


CASING-IN 


Putting the case on the body of the book either by hand or machine 
is called casing-in. In either method the operation is principally one 
of pasting and fitting the fly-leaf to the inside of the cover. There are 
machines that will casei-n books at the rate of from 500 to 750 per hour. 


MACHINES EXTENSIVELY USED 


The tendency in bookbinding as in other industries is to do as 
much of the work by machine as possible. Wherever the quantity of 
work will justify it we find rotary board cutters for cutting the boards, 
bevelers for beveling the edges, cloth slitters for cutting rolls of cloth 
into strips, gluing machines for automatically gluing the cloth as it is 
applied to the boards, case smoothers or rollers for smoothing the cases, 
die stamping machines for stamping the title, etc., etc. 


CREASING THE JOINT 


After the ‘‘cases’’ or covers have been put on the books, they are 
stacked- up in a standing press, with backs out, and boards are laid 
between the layers. These boards are bound with brass bands slightly 
wider than the thickness of the boards, so that when they are properly 
placed between the layers of books the edges of the bands will indent 
the books at the joint, and hold them thus until the books are dry. 


BooKBINDING Milo 


Square halftone, 133 line, no line. Separate photographic prints of the different views were cut out and mounted 
on a white card, on which the background and reference letters were drawn. 


Fig. 1972. Steps in edition binding. . 


HOLLOW BACK, SPRING BACK, AND TIGHT BACK BOOKS 


Books that are bound with flexible covers, and large books such as 
law books, are usually bound with tight backs, 7. e., the cover material 
is glued to the back of the book and bends inwardly when the book is 
opened. The cover on a hollow backed book is attached at the joint 
only so that when the book is opened the cover will bulge outwardly 
away from the back. A spring back is one having ‘‘hubs”’ or bands 
so built into the back covering as to hold and protect the covering 
material when the book is opened. Spring backs are used on account 
books. 

INDEXING 


To facilitate quick reference, price books, blank books, dictionaries, 
and many other kinds of books, have cut-in indexes on the fore edge. 
When the edition is small this index cutting is sometimes done by hand, 
using an index shear, which is provided with a gauge for uniform cut- 
ting; but most of this work is done on an index cutting machine. 


FINISHING 


After a book is covered, it goes to the finisher to be finished. Fin- 
ishing includes not only the final inspection but also putting on the 
titles and decorative features, if this has not already been done on the 
case. Formerly nearly all of the decorating and lettering was done with 


716 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1922G. Halftone, 60 line screen. Fig. 1923G. Halftone, 85 line screen. 


Fig. 1924G. 


Fig. 1926G. Halftone, 133 line screen. Fig. 1927G. Halftone, 150 line screen. 


Pages 713 to 720, inclusive, are printed on 25x38—70 lb. White English Finish, made by The Champion Coated Paper 
Company, Hamilton, Ohio. 


BoOOKBINDING rele 


SSS a f \ \ 
“AN a 
ay : 


ANY ) \ ‘ 
‘i 


Fig. 1928G. Open or grey halftone, Fig. 1929G. Line etching on zinc 
120 line screen. from a pen drawing. 


ha ae 


re 


a 


5 
‘s 
« 
iS 
et 
<é 


SATU ALC SE eae: 
we wee ek a AORTA PUTS AMR ; 


ae a = 


Fig. 1930G. Line etching on zinc Fig. 1931G. Wood engraving. 
from a crayon drawing. 


x 


MANUFACTURERS G&== . |) a 
FOR WOODWORKERS = 


Eoae Toots & Macuin 


RY 


Fig. 1932G. Line etching on zinc of lettering with machin . shaded ground. 


The illustrations on this and the opposite page are a part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


718 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 133 line, no line. A separate halftone negative was made of the view of each machine and these 
negatives were stripped together. C and H were made from retouched photographs, all others from black on white prints 
from halftones. The reference letters were drawn on the copies and the white lines between the views were cut on the 
plate. In view A is shown a machine for gathering, stitching and covering books; K, press for stamping and embossing; 
L, machine for beveling boards for covers; N, cloth gluing machine; O, rotary board shear (A, K, L, N and O courtesy 
T. W. & C. B. Sheridan Co., New York City); B, stitcher feeder (courtesy Christensen Machine Co., Racine, Wisconsin); 
C, wire stitcher; H, index cutter, (C and H courtesy F. P. Rosback Co., Benton Harbor, Michigan); D, book sewing 
machine; F, case making machine; G, casing-in machine (D, F and G, courtesy Smyth Mfg. Co., Hartford, Connecticut); 
M, pallet for holding type for titling books (courtesy W. O. Hickok Mfg. Co., Harrisburg, Pennsylvania). 


Fig. 1973. Some of the machines used in 
pamphlet and book binding. 


BooKBINDING 719 


hand tools, called hand creasers, fillet rolls, hand stamps, etc., and the 
finishing on blank books is still largely done in this way; but all other 
books are now stamped with special machines, either before the cases 
are put on or afterwards. The ornamentation and lettering are put 
on with ink, foil, imitation gold, silver, aluminum or white leaf, gold 
leaf or blank impressions. By the last named method the die stamps 
out the pattern, or finish, on the cover material, giving the design a 
mee glossy appearance and of a deeper shade than the surrounding 
surface. , 


GOLD LETTERING 


Nothing has yet been found which will take the place of gold leaf 
for permanence and brightness for gold lettering and decorative work 
on books. Stamping with gold leaf is, however, an expensive process 
and not all binding establishments are equipped to do it. Moreover 
the rich effect that is associated with gold stamping can often be just 
as effectively obtained by a proper combination of rich colors, espe- 
cially on cloth bound books. The variety of beautiful cloths made 
expressly for book covering is so wide that extremely handsome com- 
binations are easily possible. 

Buyers of printing who wish gold leaf stamping will better appreci- 
ate the quotations made them if they will investigate the method of 
applying gold leaf. First the surface to be stamped must be properly 
sized with a special sizing, or adhesive mixture adapted to the particu- 
lar covering material. It is usually applied with a tuft of cotton 
saturated with the mixture. The cotton is passed lightly over the 
surface to be stamped, and when properly applied the sizing is in- 
visible on the surface. The best sizing for all kinds of leather is white 
of egg, with certain other ingredients added, as it does not injure the 
leather in any way. Commercial preparations should be selected by 
printers with great care, and those rejected which show evidence of 
containing even a small part of sulphuric acid, which is very injurious 
to leather. 

After the sizing has been applied the gold leaf is very carefully laid 
on the surface to be stamped, and a properly heated brass stamp or 
roll applied with considerable pressure. The heat and pressure causes 
the leaf to adhere to the surface that has been sized and form the design 
or lettering. The superfluous leaf is then brushed off with a stubby 
brush into a box where it is carefully saved and disposed of to a refiner. 
As gold leaf is actual gold, therefore as valuable as gold, every effort is 
made not to waste it. Gold leaf comes in sheets about 33% inches 
square, so that to insure minimum expense for gold stamping the design 
selected should be such in size and detail as will permit the use of the 
full leaf without unnecessary waste. It is of course possible to use 
only a part of the sheet of the leaf and on the other hand, in the case of 
large designs it may take one or more full sheets to cover the surface 
to be stamped. The binders’ charge for gold stamping is based on the 
size of the surface to be covered as well as the other operations neces- 
sary in the application of the leaf. 


720 COMMERCIAL ENGRAVING AND PRINTING 


Square halftone, 150 line, no line. Made from samples lithographed in colors and mounted on a gray card. 


Fig. 1974. Two styles of marbling. 


GOLD EDGING 


Gold edges are put on books in a manner similar to that in which the 
lettering and decorative designs are put on the cover. After the books 
are trimmed and before they are put in the cases or rounded, they are 
placed under heavy pressure, and after the edges are made smooth by 
scraping and sandpapering the size is applied and the leaf added with 
heat and then burnished. 


MARBLED, COLORED AND SPRINKLED EDGES 


The edges of books are marbled by dipping. A vat or tub three or 
four inches deep is provided in which is placed a mixture or sizing com- 
posed of gum arabic, gum tragacanth and water. Water colors in 
bowls are placed beside the vat and with a brush dipped in these colors 
they are dropped or thrown on the surface of the liquid in the vat, 
which is of such a nature as to cause the drops of color to remain sepa- 
rate and float on top, widening out on the surface of their own weight. 
After the desired colors have been applied, the workman with a comb- 
like stick, called a shaper, creates the design by combing through the 
surface of the mixture, the effects obtained depending on the skill of 
the workman. The drops of color simply lengthen and broaden but 
do not mix. After the design on the surface has been completed, it is 
divided, by cutting with a knife, into sections, each section of proper 
size for the edge of a book. Then the book to be marbled is clamped 
at the edges and dipped into one of the sections of the design which 
adheres and is allowed to dry. The front of the book is usually marbled 
first and after drying the ends are trimmed, the book is rounded, and 
then the ends are dipped. As the design is lifted from the vat with 
each application, as soon as all of the sections have been dipped a new 
design must be prepared and the process repeated until all of the books 
have been treated. 

Marbled papers as used for end sheets in books are usually an imita- 
tion of hand marbling and are printed in colors by lithography. 


ee BookBINDING 721 


Courtesy United Printing Machy. Co., Boston, Mass. 
Outline-vignette halftone, 133 line. Made from a retouched photograph. 


Fig. 1975. The U. P. M. vacuum bronzer. 


Colored or tinted edges are obtained by applying the color, with a 
brush or sponge while the book is under pressure. 

Edges are sprinkled by rubbing a brush carrying the color over a 
screen in front of the book. 


BRONZING. 


In the printing of metallic colors such as gold, silver, copper, etc., 
the metals used for the colors cannot be mixed and distributed by the 
methods used for printing ordinary colors and the pulverized metal or 
fine powder is used. An adhesive tint called ‘‘size”’ is first printed in 
the usual way after which the bronzing powder is dusted on to the 
sized sheet, the powder adhering where the size is applied and the excess 
powder is wiped off. On a small quantity of sheets this is a simple 
matter but on large orders such as labels, placards, hangers, etc., the 
hand process would be impractical and such jobs are handled by the 
aid of a bronzing or dusting machine which applies the powdered bronze 


_and wipes the sheet free of all surplus. The use of such machines not 


only saves bronze and labor, but it also does away with the incon- 
venience and discomfort caused by the dust when the hand method is 
used and also insures more uniform results. Some of the bronzing 
machines are attached to the printing press on which the sizing is 
applied and by continuing the sheet through the bronzing machine the 
entire process is accomplished in one operation. Machines may be 
obtained for dusting one or both sides of the sheet at the same opera- 
tion. 

“It is impracticable to use bronze on some surfaces, particularly 


_those that are rough or unfinished, because of the fact that the bronze 


powder cannot. be dusted off; also when bronze is used in connection 


with printed colors it is sometimes advisable to put it on first to avoid 


possible difficulty in dusting off if applied after the colors are printed. 


722 CoMMERCIAL ENGRAVING AND PRINTING 


SPECIAL BINDING 


‘The possibilities in producing novel or practical ideas 1 in binding are 
limited only by the creative ability of the craftsman, since the mate- 
rials that can be used are almost unlimited in quality and variety and © 
permit of the production of almost anything: conceivable in paper, — 
boards, cloth, leather or other material in flexible or stiff form. 

It is usually possible to bind a part of any edition of a catalog, 

booklet, or book differently from the rest of the edition. ‘This is often 
done to supply preferred customers, salesmen, officers and others with ~ 
special copies bound in leather, cloth, boards, etc. The name of the 
individuals are also often stamped on the covers. 


LOOSE LEAF STYEES 


While this popular style of binding is most used for accounting 
forms, it is also extensively used for catalogs, price books, etc. Its 
advantage over permanently wire-stitched or sewed books is that it 
permits of the easy removal of obsolete leaves, or the addition of new 
ones as occasion may require. It also provides a practical.scheme for 
building special books for special purposes as for salesmen, special — 
customers, etc. Many large catalogs are bound in the more substantial 
form of covers, as boards, cloth, leather, etc. —using the ring or post — 
binder. Several suggestions for less expensive forms will be found — 
illustrated in Fig. 979 on page 405. * 

To properly withstand usage, loose leaf catalogs should be printed ~ 
on a paper having more strength than that ordinarily used for catalog 
work. Flat writing or bond papers are the most suitable if no illus- _ 
trations, or if the text is illustrated with line engravings. If the text is — 
illustrated with halftones a folding enamel coated paper should be 
used. Also to make it more practical to discard or add leaves, the 
subject matter should be so arranged that it may be printed on only 
one side of each sheet, and not more than one subject should be included 
on a sheet. 


(QATENTS,GRAIDEMARES 
and 


ag | o"6 


*Fig. 1980. 


PA¥FENT partakes of the nature of a contract, entered into be- 
tween the inventor and the government, whereby the govern- 
ment grants to the inventor, during a certain term of years, the 

exclusive right to the manufacture, the use and sale of the thing which 
he has discovered or invented, in consideration of his disclosure of his 
invention, so that at the expiration of such period the free and unre- 
stricted use of his invention may be allowed and made available to 
the public. | 

It is very essential to the progress of art and the sciences that this 
particular class of personal property should be protected from infringe- 
ment and interference, and the inventor allowed to reap some benefit 
from the results achieved through his inventive genius. Should such 
protection not be given, a considerable portion of the incentive would 
be removed. 

THE PATENT OFFICE 


The patent office is under the control of the Department of the 
Interior, with a Commissioner of Patents at its head, and has fifty 
distinct divisions. All patents are signed by the Commissioner of 
Patents. They are issued in the name of the United States of America, 
under the seal of the patent office. 


APPLYING FOR A PATENT 


It is not a requirement of the patent law that a man who desires 
to make application for patent should have an attorney, but it is 
advisable. The Commissioner of Patents stated in one of his reports, 
» As the value of patents depends largely upon the careful preparation 
of the specifications and claims, the assistance of competent counsel 
will be of advantage to the applicant; but the value of their services 
will be proportioned to their skill and honesty.” If the matter is 
handled through an attorney, the application must be accompanied 
by power of attorney. 

The inventor—or his attorney—must address a written petition 
to the Commissioner of Patents, stating just what his invention is and 
to what he considers he is entitled. With the application should gO 
full and concise specifications, setting forth explicitly of what the 
invention consists. Attached to these specifications should be his 
affidavit, sworn to before some person qualified to administer oaths, 
stating of what country he is a citizen; that he believes himself to be 
the originator and first inventor of the article or product; that he 


-*Line etching on zinc. Made from a pen drawing. 


~, 


line screen. 


Se, 


Fig. 1925H. Halftone, 120 line screen. . ES 


Fig. 1926H. Halftone, 133 line screen. Fig. 1927H. Halftone, 160 line screen. ‘ re 


Pages 721 to 728, inclusive, are printed on 25x38—35 Standard Newsprint, made by The Northwest PaperCo,, — 
Cloquet, Minnesota. ; . ber arae'y 


PATENTS, TRADEMARKS AND CopyrRIGHTS TED 


| 


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\Y\ SY Fe 

\) Mijn if 
\\\ 


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o {| \ \\ 
{ cr : 


TTY HW : 
NT 
Fig. 1998H. Open or grey halftone, Fig. 1929H. Line etching on zinc 
120 line screen. from a pen drawing. 


eae nae oor es | 3 
Fig. 1930H. Line etching on zinc 
from a crayon drawing. 


Eoce Toots & Machinery FOR WOODWORKERS 


SS 


Fig. 1932H. Line etching on zinc of lettering with machine shaded ground. 


The illustrations on this and the opposite page are a part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


* 


¥ 
726 COMMERCIAL ENGRAVING- AND PRINTING 


believes it has never before been known or used; or previously patented 


or publicly described, or in public use or on sale in the United States. 


prior to his invention, or more than two years prior to his application 
for letters patent. The receipt of a patent from a foreign government 
will not prevent the patent of the invention in the United States, pro- 


vided application is filed within twelve months of the date of applica- 


tion for the foreign patent. 

A drawing of the details of the invention must accompany the 
application. The drawing should be prepared on smooth white card 
(Bristol board), fifteen inches deep by ten inches wide, with one inch 
marginal lines; one of the shorter sides to be the top; all of the views 
to lie in the same way oneach sheet. The drawing may be signed by 
the inventor, or his name may be signed by his attorney in fact. The 


drawing must show every feature of the inventionand figures should 


run consecutively, if possible. A model is not required by the govern- 
ment, but is of value in connection with preparation of the specifica- 
tions. When the invention or discovery consists of a composition of 
matter, a sufficient quantity of each of the ingredients to allow of 
experiment must be furnished, if required. 


The government fees are $40.00 and the first installment of $20.00 | 


must accompany the application. 


ISSUANCE OF PATENT 
If, after proper investigation, it is found. that the statements made 
are true and that the invention is new and patentable, a patent will be 
issued to the inventor, to his assignees, if his interest has been assigned; 


~ or, if he be dead, to his executor, administrator or heirs. If the imven- 


tion is a joint one, the patent issues in the name of both inventors. 
The period for which patent protection may be obtained is seventeen 
years. | 

If the inventor’s claim to priority of invention, or as to the novelty 


of the thing to which he claims patent, be disproved, the claim is : 
rejected and he is so notified, with a brief statement of the reasons — 


for rejection. | 
NOTICE OF LETTERS PATENT 


Notice to the public, when any article is made or offered for sale 


under letters patent, must be given by placing thereon the word 


“Patented,” together with the day and the year the patent was 


granted, otherwise no damages shall be recovered in the event of 


infringement, except on proof of other notice. When the nature of the 
article is such that this is not possible, then the required inscription 


must be placed upon the package in which the articles are vended. 


There is a penalty for affixing the word ‘‘Patented” to any article 


upon which a patent has not been obtained, but as soon as the inventor 
has filed his application in the patent office, he is entitled to attach the 


words, ‘Patent applied for’’ to his product. 
THE RIGHT TO A PATENT 


An idea is not patentable. An idea as to a possible method for the — 


accomplishing of some particular purpose may occur to several per- 


sons, but he who first develops his ideas into concrete form, and con- 


- 


Micha - 


PATENTS, TRADEMARKS AND CopyRIGHTS tat 


structs a machine, or other thing, which can be adapted to practical 
use, is the one entitled to patent protection. 

In order to obtain a patent, new principles must be discovered, 
or such a combination of known principles as will produce a novel 
result. It is not sufficient that the principles upon which the patent 
is sought to be obtained be new to the inventor himself, or that he 
produce a result startling to himself, but it must be proved that his 
invention or discovery is new, and not before known or used. How- - 
ever, he may use old processes in connection with new ones, provided 
that he achieve a result through the combination that js novel and 
can not otherwise be attained. 

He who is able to discover the means by which a definite, useful 
result may be obtained in any art is entitled to a patent, provided 
that the specifications he furnishes are so clear and specific that any 
person familiar with similar processes will be able to produce exactly 
the same result, without in any way deviating from such specifications. 


DEFINITIONS UNDER THE PATENT LAWS 


Any person, whether an American or a citizen of some other 
country, may obtain patent protection for 4 term of seventeen years, 
who has discovered or invented any new or useful “‘art,’’ “‘machine,”’ 
“manufacture,”’ “composition of matter,’ or any new or ‘useful 
“improvement” thereon. 

An art is defined as a process wherein the application of a principle 
is the essential feature, and in which the methods used in applying the 
principles to achieve the stipulated result are merely incidental. 

A machine is-any mechanical device capable, either alone or in 
combination with mechanical power, of producing a result; when the 
result so achieved is specific and final, it is regarded as a complete 
machine. A combination of a number of parts—each of which might 
be considered as a machine—when intended for the production of some 
definite article or thing, may be covered in a single patent. A new 
combination of machinery is patentable, whether the parts of which 
it is composed are new or old. 

A manufacture is specifically defined as an instrument created by 
the exercise of mechanical force and designed for the reproduction of 
mechanical effects, but not capable when set in motion of attaining 
by its own operation any premeditated result. 

An improvement is held to be anything which adds to or alters an 
original in such a way as to increase the quality or quantity of the 
product, lessen the cost of production, or otherwise better the inven- 
‘tion which forms the basis of the improvement. 


DESIGN PATENTS 


The patent law also provides for the allowance of patents for new 
and ornamental designs. A design is defined as the definite form into 
which a physical substance is molded or shaped, and which gives it its 
distinguishing and characteristic appearance. There must be an actual 
change, not in the composition of the substance, but in the effect pro- 
duced upon the eye. These patents cover any kind of ornamental 


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728 CommErcIAL ENGRAVING AND PRINTING 


design or pattern to-be imprinted upon a textile fabric or other sub- - 
stance, the shape or configuration of any article of furniture, etc. 


INTERFERENCES AND INFRINGEMENTS Y Tae 

An interference is a conflict between two patent applications, 
wherein two inventors claim prior right to the same invention, or 
between an existing patent and an application. An examination to ~ 
determine who really has the right of priority is ordered by the Com- 
missioner, when the claims made are such as to require it. The patent 
will be awarded to the one. who can prove that he was the first to = 
perfect the invention. The first inventor is the person who.can prove 
by substantial evidence and witnesses (a) that he was the first to reduce ~ 


that time until he reduces it to practice was constantly diligent and 


COPYRIGHTS 


The copyright laws are for the protection of authors, composers — 
and artists in the printing, re-printing, publishing, copying and vend- — 
ing of their intellectual output. It is held that they possess the same 
inherent right to the product of their intellectual and artistic ability, a 
and are as much entitled to protection, as the inventor of some more 
material thing. pas 

Through the medium of the International Copyright Union, the 
following are among the countries which extend the same protection __ 
to citizens of the United States as to their own citizens: Great 
Britain, France, Italy, Spain, Portugal, Belgium, Denmark, Switzer- — 
land, Chile, Costa Rica, Holland and possessions. A copyright 
obtained in any one of these countries is-effective in all the others. = 


% 
eh oe 


OBTAINING A COPYRIGHT ne 


The work should be published bearing the copyright notice, as — 
“Copyright 19— (date of publication) by —————.” Immediately 
after publication, an application for copyright, together with a sepa- 
rately printed or typewritten copy of the title of the book, or other 
publication—or a description of the drawing or work of art—issentto 
the Register of Copyrights, Library of Congress, Washington, D. C. 

Application blanks are quite simple in form and will be furnished by 
the Register of Copyrights upon request. There should also be for- 
~ warded two complete copies of the book, picture or writing, or, in the ~ 
case of a drawing or art design, a cabinet-sized photograph of it. These ~ 
will be transmitted without postage if directly delivered to the post- 
master for that purpose. However, the postal authorities have ruled ~ 
that this does not apply to the application and the money order to 
pay the fee, so that they must be forwarded under separate cover. 


PATENTS, TRADEMARKS AND CopyrRIGHTS 729 


The fee for the registration of any work subject to copyright is one 
dollar, with the exception of photographs, on which the fee is fifty 
cents — if certificate is not demanded. The fee for extension or 
renewal of copyright is fifty cents and for every additional certificate 
of registration fifty cents. 

Copyrights extend over a period of twenty-eight years, and if the 
author, or his widow, children, or other heirs be living at the expiration 
of that time, then for a further period of twenty-eight years. Appli- 
Cation for the renewal of copyright must be filed six months before 
the expiration of the first term, and, as in the first instance, must be 
accompanied by a printed title, two copies of the work and the fee. 

Copies of books submitted for copyright must be printed from type 
set in the United States, and all editions of works copyrighted in the 
United States must be entirely manufactured within her boundaries, 
and an affidavit to that effect must accompany the application. An 
exception to this rule is made in the case of a book of foreign origin 
printed in a foreign language, or of a printed play in any language. 

The title of the book or other article copyrighted is recorded in the 
office of the Register of Copyrights, together with the fact that the 
applicant claims copyright in it. 


NOTICE OF COPYRIGHT 


The form of notice prescribed by law is “Copyright —-———— by 
-—___———,’ or the abbreviation ‘‘Copr.”” accompanied by year of 
publication and the name of the copyright proprietor. A similar 
inscription must appear in all copyrighted publications, but in the 
case of maps, models or designs for works of art, drawings, photo- 
graphs and prints, the notice may consist of a C within a circle, accom- 
panied by the initials, monogram, mark or symbol of the copyright 
proprietor, provided that his name appear somewhere on the article. 
The date shown in the copyright notice should be the same as the date 
of publication imprinted in the original or first edition. 


WHAT MAY BE COPYRIGHTED 


The things subject to copyright include books, periodicals, lectures, 
sermons, statuary, maps, charts, dramatic composition, musical com- 
positions, engravings, cuts, prints, photographs, or negatives thereof, 
paintings, drawings of a scientific or technical character, calendars, 
Gif they contain copyrightable reading matter or pictures), models 
and designs intended to be perfected as works of the fine arts. As 
defined under the copyright laws, a “‘book’’ may consist of but a single 
sheet—as a sheet of music. 

Among the articles which it has been held are not subject to copy- 
right are advertisements or catalogs, which merely set forth the 
mame, prices and place where articles are on sale, advertising devices, 
Blank cards, blank forms (legal forms may be copyrighted), business 
Names, emblems, engravings of manufactured articles, flags, letter- 
heads, names or phrases, names of products, patterns, tablets, titles, 
trademarks, wrappers for articles to be sold, or any drawing, design, 
model or print not intended for the fine arts. 

Damages may be recovered against any person who prints, pub- 


730 COMMERCIAL ENGRAVING AND PRINTING 


lishes, translates, imports or sells any book, or other article, which 
has been protected by copyright, and he will be required to forfeit to 
the owner of the copyright all copies so unlawfully produced or im- 
ported. An injunction may be obtained from the United States courts 
to prevent the infringement of a copyright. 


WHAT CONSTITUTES INFRINGEMENT 


A copyright is not infringed when the whole or any part of a book 
is read or recited, but it is infringed when such a portion of the copy- 
righted work is ‘published as to form a substitute therefor, or to 
diminish the market value of the original appreciably. The essence 
of infringement is the publication. 

However, any person may select matter from a book, or other 
publication, and so add to and modify the wording and alter the 
arrangement of the text matter as to produce an original work, in the. 
meaning of the copyright law. There is nothing in the law to interfere 
with the publication of similar matter obtained from a common source 
by several different persons. If there is a difference in the arrange- 
ment of the material and in the manner of expressing the thought, 
each may copyright his work as an original production. 

Authors, composers, lecturers and artists are also entitled to 
protection under the common law. Private letters may not be pub- 
lished by the recipient without the consent of the writer: unless such 
publication be for the furtherance of justice, or in defense of his own 
character. A photographer has no right to sell or exhibit copies of a 
photograph without the consent of the original thereof. Because a 
person purchases a ticket to a public lecture, it does not give him the 
right to reproduce such lecture in print, without the consent of the 
lecturer, although he may take the most copious notes for his own 
benefit. Even though a dramatic work may never have been copy- 
righted, a spectator has no right to reproduce it from memory, if such 
reproduction be made public. 


PRINTS AND LABELS 


For registration with the Register of Copyrights at the Library 
of Congress, the words in the copyright law, ‘‘engraving, cut, print, 
etc.,’’ apply only to illustrations, designs or prints connected with the 
fine arts. For this reason, prints and labels which are intended to be 
imprinted upon articles of manufacture, or upon a slip of paper or 
other material to be pasted or otherwise attached to such article, are 
not subject to copyright registration with the Register of Copyrights. 
They must be registered in the patent office. Before the print or label 
is actually used, the application for registration must be filed, signed 
by the proprietor or his agent, and accompanied by ten copies of the 
print or label. The certificate of registration continues in force for 
twenty-eight years, and may be renewed for fourteen more. 


TRADEMARKS AND TRADE NAMES 


A name or device, a particular arrangement of words, lines or 
figures, a symbol, etc., affixed to an article, in order to indicate its 
origin, or who the owner may be, is known as a trademark. Trade 


PATENTS, TRADEMARKS AND CopyRIGHTS 731 


names, such as the name of a firm, a corporate name, or the name of 
an individual specimen of property, though not strictly a trademark, 
will be protected in the same manner. The trade name identifies a 
firm in such a way that it secures to it the benefit of such good will as 
it may have acquired, while the trademark applies more particularly 
to the product to which it is affixed. A trade name protects the repu- 
tation of the firm; the trademark gives the public assurance as to the 
quality of the article upon which it appears. 


REGISTRATION OF TRADEMARKS 


Trademarks are protected by registration in the United States 
Patent Office and the fee for registration is $10.00. A firm may adopt 
a word, or words, symbol, or design as a trademark and acquire title 
thereto by actual use. In case of any dispute between two applicants, 
or an applicant and a former registrant, the Commissioner of Patents 
is authorized to decide the matter in accordance with the practice in 
the United States Courts of equity. 

In order to obtain registration, there must be filed in the patent 
office a declaration, verified by some member of the firm or officer of 
the corporation, that it has at the time a right to the use of the trade- 
mark sought to be registered, and that no other firm has a right to the 
use of the identical words, signs, designs, or symbols that may be 
included in the trademark, nor the right to the use of such close resem- 
blances that they would be likely to deceive; that the trademark is 
used in lawful trade between the states or with foreign nations or the 
Indian tribes; that the description and facsimile furnished are true 
and correct representations of the trademark. There must also be a 
statement giving the name, location and citizenship of the applicant; 
the class of merchandise handled, and a description of the particular 
goods within such classification to which the trademark has been 
applied; a statement of the manner in which it is attached or applied 
to the goods, and for what period of time the trademark has been in 
actual use. Accompanying the application must be a description of 
the trademark, five facsimiles thereof and a drawing drawn in black 
drawing ink on paper of a certain special size, and a fee of $10.00. 

On receipt of the application and statement, they are noted on the 
record, and, after investigation, if it is found that the provisions of 
the law have been complied with, and there are no previously registered 
trademarks similar thereto, the trademark will be registered and 
certificate of registration issued. 

All registered trademarks are first published in the Official Gazette, 
issued from the United States Patent Office, together with a descrip- 
tion of the articles to which applied. Any person who deems himself 
injured by the registration of any particular trademark may make 
application for the cancellation thereof. 

The registration is good for a period of twenty years, except when 
it is applied to an article manufactured in the United States for which 
protection is reserved under the laws of a foreign country for a shorter 
period, in which case it ceases to have force at the expiration of such 
shorter period. Any number of extensions for a like period of time 
may be obtained. 


ioe COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1922K. Hialftone, 60 line screen. Fig. 1923K. Halftone, 85 line screen. 


Fig. 1924K. 


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Fig. 1926K. Halftone, 188 line screen. Fig. 1927K. Halftone, 160 line screen. 


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Pages 729 to 736, inclusive, are printed on 25x38—70 lb. Allied Dependable Offset, made by Allied Paper Mills, 
Kalamazoo, Michigan. 


PATENTS, TRADEMARKS AND CopyYRIGHTS 733 


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The illustrations on this and the opposite page are part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


734 COMMERCIAL ENGRAVING AND PRINTING 


LEGITIMATE TRADEMARKS 


It is necessary that a trademark be arbitrary in its nature and not 
descriptive of the article to which it is affixed. The manner in which 
it is attached is immaterial, but it must appear on the article or its 
containers in a distinct and legible way. 

No trademarks will be registered that contain immoral or scurrilous 
matter; that include or comprise the flag or other insignia of the United 
States. 

The name or portrait of a living person will not be registered as a 
trademark, except upon the written consent of the individual. | 

A trademark may consist of a fictitious name or coined word, or of 
some character or thing in fiction. Numerals, if not used to indicate 
grade or quality, will be valid trademarks. 

A geographical name—such as the name of a district, county or 
state—can not be protected as a trademark. They should be used in 
an arbitrary and fanciful sense. 

Words and phrases in common use, when in no way descriptive of 
the article to which they are affixed, form legitimate trademarks. 

Devices and symbols are the most generally used trademarks. 
However, if they are of such character as necessarily to describe the 
goods to which they are applied, or contain any description of the 
goods, or facts with reference to them, they can not be registered as 
trademarks. 

The registration of geographical or descriptive terms, or the name 
of an individual, or form, or corporation are permitted, provided the 
mark was in active and exclusive use as a trademark for ten years 
preceding February 20, 1905. 

Also, under an amendment passed in 1920, a special register was 
established for the entry of marks which have been in actual and 
exclusive use as a trademark for one year, and which would not be 
registerable under the provisions of the main act. Registration under 
this amendment does not impart to the mark prima facie evidence of 
ownership as obtains with respect to marks registered under the main 
act. This special register is to enable American owners of trademarks 
not registerable under the main act to obtain registration here for the 
purpose of securing registration in those foreign countries which require 
registration in the home country as a condition precedent. 


INFRINGEMENTS 


Relief may be obtained through the proper courts when a trade- 
mark belonging to any firm or corporation is used by another firm or © 
corporation on articles of the same class. If the trademark has been 
registered, the Federal courts have exclusive jurisdiction. If there is 
no registration, the Federal courts have jurisdiction only where the 
parties are residents of different states, otherwise the state courts have 
jurisdiction. 


ERpao RS Sr 208 a i En ERROR ROR COO RP one poeng 


* 


that sell to special classes of prospects have found from ex- 
perience that mailing lists, to which advertising matter is 

mailed from time to time, form a most important part of their selling 
plans. These mailing lists may be limited to the names and ad- 
dresses of jobbing houses or of retail dealers, or they may be very 
extensive lists of retail customers and prospects, according to the 
general sales policy of the company which owns and uses them. 

The names comprising these mailing lists may be obtained in 
various ways. They may be purchased from companies who make a 
business of compiling special lists for sale. They may be compiled 
from city, telephone, trade and professional directories, from the 
reference books of commercial agencies, from the sales ledgers of the 
owners of the lists, etc. If the company advertises extensively in 
newspapers, trade journals, periodicals, magazines, etc., a mailing 
list may be built up from the inquiries received as a result of such 
advertising, and this kind of list is more valuable because the names 
are those of people who have manifested a direct interest in the goods 
advertised. Manufacturers generally confine their lists to jobbers 
who handle their lines, although retail dealers often furnish to job- 
bers and manufacturers, for the distribution of co-operative advertis- 
ing matter, the names and addresses of customers whom they think 
it might be possible to interest in some particular product by direct 
mail solicitation. Mailing lists may be classified in various ways 
and the value of the list is, of course, increased by proper classifica- 
tion. Some establishments have spent years and large sums of money 
in compiling and classifying their mailing lists, and continue to spend 
considerable sums for revision and keeping them up todate. Naturally 
such firms place a very high value upon their lists. | 

Mailing lists may be used for the mailing of special announce- 
ments, price lists, circulars, circular letters, post cards, booklets, 
catalogs, or for any other kind of advertising matter which may be 
sent direct to jobber, dealer, consumer or prospect. 


[Y{ ‘that ext! to specal jobbers, retailers and other institutions 


COMPILING A MAILING LIST 


In compiling a mailing list a very careful survey should first be 
made of the field to be covered, so that a plan may be developed 
which will not only provide for a continual growth in the size of the 
list, but for the practical and efficient handling of it as well. | 

A card index system is, of course, best adapted to the purpose 


*Line etching on zinc. Made'from a pen drawing: An 85 line screen halftone negative was stripped over the line 
negative to obtain the screen effect. 


736 COMMERCIAL ENGRAVING AND PRINTING 


as it provides for growth, classification and other requirements. The 
cards may be arranged alphabetically by states, towns in the states 
and individual names, or geographically, alphabetically, or by any other 
plan best adapted to the needs of the business. They also provide 
a means for keeping an individual record of advertising matter mailed 
to each and other data that are often desirable to have at hand. 

Sub-classifications may be made through the use of tabs located 
in different positions on the top edge of the cards, or by the use of 
cards of different colors, to permit the use readily of a certain classi- 
fication for a special purpose, when the line to be specially adver- 
tised might not appeal to the entire list. 

For any mailing list the quality of the names, 1. e. their buying 
possibilities, is of far greater importance than the number of names 
in the list. Although the same effort may be required for the prep- 
aration of printed matter to be mailed, whether the list be large 
or small, the expense for printing, paper, postage and labor for mail- 
ing are items that increase in proportion with the size of the list, a 
part of which, corresponding to the unfertile addresses, represents a 
total loss when an improperly compiled list is used. Thus, if waste 
circulation is to be avoided, the greatest of care must be exercised in 
selecting the names of only those who will be actually interested in 
the line being exploited; names must be correctly spelled, correct 
addresses obtained, duplication avoided and this must be followed 
by legible and correct addressing in preparing the matter for the mails. 

The effect the advertising matter will have on the prospect, and 
his confidence in what is offered, are greatly increased if he notes that 
the matter has been properly addressed, while the effect may be the 
opposite through incorrect or illegible addressing, duplication, in- 
correct spelling, etc. 

The expense to which one would be warranted to go in obtaining 
names for a mailing list, is, of course, governed by the nature of the 
business for which the list is being compiled. Naturally the average 
cost a name for compiling may justifiably be much greater if the article 
to be sold represents a large value, or is one for which repeat orders 
can be expected, than for one for which the selling price is nominal 
and for which there would be no subsequent call. 

A mailing list should not only be compiled originally with scrupulous 
care but constant vigilance should be exercised in keeping it correct. 
The full local address should be used in all cities, giving street and 
number in preference to building and number, and every piece of matter 
sent to those on the list should carry a guarantee of payment of postage 
for the return of the piece, if undeliverable, that the address may be 
eliminated from the list or corrected upon its return. By keying the 
names obtained from different sources, as they are added to the regular 
list, and by comparing returns, definite information may be obtained 
which will indicate just what sources should be followed for increasing 
the size of the list. 

METHODS OF ADDRESSING 
When the mailing list contains several hundred, or thousands of 


names, the addressing of mail matter not only requires considerable 
time but it involves also considerable expense. Many companies 


Matnine Lists AND PostaL INFORMATION 737 


using circular letters upon which the names and addresses are type- 
written avoid the expense of addressing envelopes by using the window 
envelope, the enclosure being folded in such a manner that the address 
thereon may be read through the window in the front of the envelope. 
When the window envelope is not used, the piece must, of course, be 
addressed either by pen, typewriter or addressing machine. 

In most large cities there are typists and others who devote their 
entire time to addressing, and mailing advertising matter for those 
who wish to be relieved from doing this work in their own offices, 
receiving a certain price a thousand for the pieces addressed, depend- 
ing upon the method and manner of placing the addresses on the 
matter, the folding, enclosures, etc. 

Where mailing lists are used at frequent intervals, whether the 
list is large or small, some form of addressing machine is usually used 
for printing the name from a plate or stencil on the piece of mail 
matter. These plates or stencils are arranged in drawers similar 
to a card index system and by placing them on the machine, a drawer 
at a time, the work may be quickly done and the plates returned to 
the drawers for use again and again. Classification is obtained by 
signal tabs on the plates which automatically select the plates to be 
printed. Either hand or power machines are obtainable and their use 
insures accuracy and legibility as well as speed and a saving in the cost 
of addressing. 


ESTIMATING POSTAGE 


One of the points to be considered in the preparation of adver- 
tising matter for transmission through the mails is the amount of 
postage that will be required on each individual piece. Sometimes 
the use of a paper a little lighter in weight than that first considered 
or a slight reduction in the size of the mailing piece may mean a sub- 
stantial saving in postage when mailing large quantities of circulars, 
booklets or catalogs. Frequently it is possible to include an addi- 
tional piece of advertising matter, without increasing the postage, 
by keeping the principal piece under a particular weight limit. 

In order to make an accurate estimate as to the postage that will 
be required, it is advisable to make up a dummy of the proposed book- 
let or catalog from the paper, cover-stock, etc., that is actually to be 
used, weighing it with the envelope, enclosures, etc., with which it 
is to be mailed. Since the ink to be used in printing adds slightly 
to the weight of the completed catalog, weight should not be figured 
too closely from an unprinted dummy. It sometimes happens that 
on account of a variation in weight of the paper used, or from some 
other unforeseen cause, a piece of printed matter goes just a little 
over the weight limit which had been figured. This may sometimes 
be remedied by trimming the margins a little closer, but the appear- 
ance and effectiveness of a booklet should not be sacrificed by trim- 
ming in an effort to save on postage. Booklets having extension 
covers cannot be trimmed after the covers are attached without 
sacrificing the extension feature, and usually without seriously marring 
the general effect. 

When printed matter requires folding for mailing, the layout 


738 COMMERCIAL ENGRAVING AND PRINTING 


should be so planned that the folding creases will not cross illustra- 
tions in such a manner as to injure their appearance. Enamel coated 
papers on which halftones are generally printed are likely to break or 
crack, more or less, when folded, but this may be overcome to some 
extent by using a special folding enamel paper which many of the mills 
are now making, and which will not easily break upon a fold. When 
embossed letterheads are used, an envelop should be selected that will 
not require the sheet to be folded through the embossing. 


SEALED VS. UNSEALED MAIL MATTER 


The superior attention-gaining power of sealed or first class mail 
matter over third class matter varies in accordance with conditions. 
To the man who receives little mail, even an unsealed circular is im- 
portant. If the first glance at the printed matter on the envelope 
leads a man to believe that he may be specially interested in the goods 
or the service offered, the contents will be investigated whether the 
envelope is sealed or unsealed. It is also true that an ordinary cir- 
cular under third class postage mailed by a widely and favorably 
known establishment will get much better attention than one from a 
concern that is unknown. The question to be decided in each case is 
whether the increased returns which might be obtained through the 
use of first class postage would more than offset the increased cost. 

Many firms, when in doubt as to which class to use to mail their 
advertising matter, try out an equal number of pieces each way in a 
test campaign before adopting either plan for the entire mailing list. 
Some method is, of course, devised for checking up on the replies 
received, as, for instance, sending 500 unsealed pieces to firms whose 
names begin with ‘‘A’’ and 500 sealed pieces to firms whose names 
begin with “B.”’ As the replies come in, it is easy to tabulate the 
results from each mailing. 


POSTAL INFORMATION. 


As it is practical to include herein only a synopsis of the classifi- 
cation of mail matter and the rates of postage, and other postal in- 
formation, and owing to the fact that new rulings and changes are 
likely to be made at any time by the Post Office Department, it is 
always advisable to consult the latest Official Postal Guide and supple- 
ments, the local postmaster, or the Post Office Department at Wash- 
ington, D. C., when in doubt as to rates, classifications, or the com- 
plete requirements governing the transmission of special matter 
through the mails. 

THE OFFICIAL POSTAL GUIDE 


This is published annually, in July, and contains postal information 
of interest to the public, instructions to postal employees, rulings of 
the Department; three lists of all post offices, first, arranged alpha- 
betically by separate states; second, an alphabetical list of all post 
offices, and third a list alphabetically by counties in each state. It 
also contains a list of post offices classified as to salaries of postmasters 
and a list of offices discontinued during the previous three years. The 
state lists show the unit numbers for use of shippers in ascertaining 


Martine Lists Anp PostaL INFORMATION 739 


zone locations in parcel post service, and so arranged that the zone 
numbers may be easily inserted. It is cloth bound and the price is 
75 cents per copy. A zone key is furnished to each purchaser. Supple- 
ments to the Guide are issued monthly, except in July, and contain 
changes regarding the postal service and otherwise keep the annual 
edition up to date. Price for the eleven pamphlets 25 cents. The 
Guide and Supplements may be consulted at any post office. All 
orders for the Postal Guide and Monthly Supplements, together with 
remittances covering subscriptions, should be made payable and 
addressed to Superintendent of Documents, Government Printing 
Office, Washington, D. C. The prices named include postage. 


POSTAL LAWS AND REGULATIONS 


This volume contains the postal laws and regulations in effect 
at time of publication, governing postal service and employees. A 
copy may be consulted at any post office. Price 75 cents per copy 
including postage. Sold with amendments issued periodically by 
the Superintendent of Documents, Government Printing Office, 
Washington, D. C. 
RURAL DELIVERY MAPS 


Maps of many counties in the United States, made on a scale of one 
inch to the mile, have been published. These maps show all public 
roads, rural delivery routes, the location of post offices, houses, school 
houses, churches and streams. A list will be furnished on request. 
Negative Prints of these maps will be furnished at 35 cents each and a 
blue print showing rural routes emanating from a post office in a 
county, for which no county map is published, will be furnished for 
10 cents by the Disbursing Clerk, Post Office Department, Washington, 
Bay 


All remittances to the Government should be made by postal 
money order, currency being sent at sender’s risk. Postage stamps, 
foreign money, defaced or smooth coin will not be accepted. 


CLASSIFICATION OF DOMESTIC MAIL MATTER 


Domestic mail matter includes matter deposited in the mails for 
local delivery, or for transmission from one place to another within 
the United States, or to or from or between the possessions of the 
United States and is divided into four classes. 

First class. Written and sealed matter, postal cards and private 
mailing cards. 

Second class. Periodical publications, such as newspapers, trade 
journals, magazines, etc., bearing notice of entry as second class matter. 

Third class. Miscellaneous printed matter (on paper) weighing 
four pounds or less. 

Fourth class. (Domestic Parcel Post) All mailable matter not 
included in previous classes. 

Domestic rates and conditions apply to mail matter addressed to 
the Island possessions and territories of the United States, and, with a 
few exceptions, to mail addressed to Canada, Cuba, Mexico and the 


740 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 19221. Halftone, 60 line screen. Fig. 1923L. Halftone, 85 line screen. 


Fig. 1926L. Halftone, 133 line screen. Fig. 1927L. Halftone, 160 line screen. 


Pages 737 to 744, inclusive, are printed on 19x26—substance 24, Congress Laid Linen, white, made by the Valley 
Paper Company, Holyoke, Mass. 


Mattine Lists anp PostaL INFORMATION TAl1 


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Fig. 1932L. Line etching on zinc of lettering with machine shaded ground. 


The illustrations on this and the opposite page are a part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers, See explanation on page 672. 


742 COMMERCIAL ENGRAVING AND PRINTING 


Republic of Panama. The latest Official Postal Guide and Supple- 
ments or the local postmaster, should be consulted for current informa- 
tion relative to classification and rates when they are not known. 


FIRST CLASS MAIL 


First class matter includes written matter, i. e. letters, postal cards, 
post cards (private mailing cards) and all matter wholly or partly in 
writing whether sealed or unsealed, (with the exception of manuscript 
copy accompanying proof sheets or corrected proof sheets of the same, 
and the writing authorized by law on matter of other classes), also 
matter sealed or otherwise closed against inspection. 

Among the articles included in first class matter are: assessment 
notices (printed) with amount due written therein; blank books with 
written entries; bank checks filled out in writing, either cancelled or 
uncancelled; certificates, diplomas, etc., filled out in writing; legal 
and other blank printed forms, signed officially; stenographic or short- 
hand notes; manuscript unaccompanied by proof sheets thereof; 
folders made of stiff paper which cannot be easily examined and those 
having many folds or pages requiring the use of an instrument of any 
kind in order to examine thoroughly the inner surfaces; hand or type- 
written matter and letterpress or manifold copies thereof; imitations 
of hand or typewritten matter, or reproductions thereof, not mailed at 
the post office or other depository designated by the postmaster in a 
minimum number of twenty identical copies; letters (old or remailed) 
sent singly or in bulk; printed price lists, containing written figures 
changing individual items; receipts (printed) with written signatures; 
sealed matter of any class; or matter so wrapped as not to be easily 
examined, except original packages of proprietary articles of merchan- 
dise put up under certain restrictions; unsealed written communica- 
tions, etc. . 

Sketches, layouts, pen or wash drawings and retouched photo- 
graphs, are rated as first class matter if they bear written information 
other than an identification name or number, otherwise they are fourth 
class matter. 

The rate of postage on first class matter is two cents for each ounce 
or fraction thereof. Drop letters are mailed at the rate of two cents 
an ounce or fraction thereof, including delivery at letter-carrier offices, 
and one cent for each ounce or fraction thereof where free delivery by 
carrier is not established. 

Postage on letters deposited in rural or star route boxes, or mailed 
to persons who are served by rural or star route carriers is charged at 
the rate of two cents for each ounce or fraction thereof. A ‘“‘drop”’ 
letter is one addressed for delivery from the office at which it is posted. 
There is no drop rate on any matter except letters. | 

The rate on post cards and postal cards is one cent each. 

First class mail may be forwarded without additional postage until 
it reaches the addressee or is returned to the sender as undeliverable. 
When such matter is remailed by the sender a new prepayment of 
postage is required and it should be enclosed in a new envelope. 

The weight limit for first class mail matter is the same as for parcel 


Marine Lists anp PostaL INFORMATION 743 


post or fourth class matter, namely, seventy pounds when mailed for 
delivery within the first, second or third zones, and fifty pounds when 
mailed for delivery within any of the other zones. 


SECOND CLASS MATTER 


Newspapers, magazines and periodicals which bear notice of entry 
as second class matter are transmitted as second class matter. Applica- 
tion for admission of any publication as second class matter must be 
made through the postmaster at the place of publication and when 
granted, postage is paid in advance by the publisher at a fixed rate a 
pound in bulk based on distance to points to which it is addressed and 
the per cent of advertising matter the publication contains. 

When complete copies of publications entered as second class 
matter are mailed unsealed by other than the publishers or news agents 
they. take a rate of one cent for each four ounces or fraction thereof, 
on each separately addressed copy or package of unaddressed copies. 
Incomplete copies are subject to postage at the third or fourth class 
rate, according to their physical character. 


THIRD CLASS MATTER 


Third class matter embraces circulars, newspapers and periodicals 
not admitted to the second class, nor embraced in the term ““book,”’ 
miscellaneous printed matter on paper not having the nature of actual 
personal correspondence, printed proof sheets, corrected proof sheets 
and manuscript copy accompanying them. Manuscript of one article 
can not be included with proof or corrected proof sheets of another 
except at the first class rate. Corrections made on the margins or 
attached to proof sheets may include the alteration of the text and the 
insertion of new matter, a part of the article may be re-written if 
necessary for the proper correction. Marginal instructions to the 
printer as to the correction of the matter, or as to its proper appearance 
in print are also permissible. 

Books, including catalogs, are included in fourth class or parcel 
post mail, as also is miscellaneous printed matter weighing more than 
four pounds. 

Matter printed on material other than paper is fourth class. 

A circular is a printed letter sent in identical terms to several 
persons. It may bear a written, typewritten, or hand-stamped date, 
name and address of person addressed and of the sender, and correc- 
tion of mere typographical errors. When a name (except of the 
addressee or sender), date (other than that of the circular) or anything 
else is handwritten or typewritten in the body of a circular for any 
other reason than correcting a genuine typographical error, it is sub- 
ject to postage at the first class (letter) rate, whether sealed or unsealed. 

Reproductions, or imitations of hand writing and typewriting 
obtained by means of the printing press, neostyle, multigraph, or 
similar mechanical process, will be treated as third class matter, pro- 
vided they are mailed at the post office or other depository designated 
by the postmaster in a minimum number of twenty identical unsealed 


744, COMMERCIAL ENGRAVING AND PRINTING 


copies. If mailed elsewhere or in less number they will be subject 
to the first class rate. 

The following are some of the additional articles included in third 
class matter: Proofs or prints made from halftones, line etchings, 
wood engravings or by any other process of engraving or printing, 
photographs printed on paper, address tags and labels, and blank 
forms mainly in print, advertisements printed on blotting paper, blue 
prints, calendar pads mainly in print, calendars printed on paper, 
printed calling and business cards, maps printed on paper with neces- 
sary mountings, price lists wholly in print, printed matter having 
samples of merchandise attached covering less than twenty per cent of 
the space, sheet music, etc. 

The rate of postage on unsealed third class matter is one cent for 
each two ounces or fraction thereof on each individually addressed 
piece or package and the weight limit is four pounds. Parcels of 
printed matter weighing more than four pounds but conforming to 
the regulations for fourth class or parcel post matter as to weight and 
size are mailable under that classification. 

Postage on third class matter may be prepaid by affixing ordinary 
postage stamps, by the use of pre-cancelled stamps, by using Govern- 
ment stamped envelopes or wrappers, or by mailing under a special 
permit if there are 300 or more identical pieces. 


FOURTH CLASS MATTER 


Fourth class matter embraces domestic parcel post mail, and 
includes merchandise, farm and factory products, seeds, cuttings, 
bulbs, roots, plants, books (including catalogs) miscellaneous printed 
matter weighing more than four pounds, and all other mailable matter 
not included in first, second or third classes. 

Included in fourth class matter are pen and pencil sketches and 
layouts, pen drawings, wash drawings, water color and oil paintings, 
framed or unframed, photographic negatives, kodak films, halftones, 
line etchings, wood engravings, electrotypes, stereotypes and other 
printing plates; printed matter on other material than paper, printed 
or blank stationery, printed or blank cardboard, writing, book or 
wrapping paper, etc. 

Rates of postage on parcel post matter, which must be unsealed and 
fully prepaid, are as follows:— 


Parcels weighing four ounces or less, with the exception of books, 
seeds, cuttings, plants, etc., one cent for each ounce or fraction thereof 
regardless of distance. 


Parcels weighing eight ounces or less, containing books, seeds, 
cuttings, bulbs, roots, scions and plants, one cent for each two ounces 
or fraction thereof, regardless of distance. 


Parcels weighing more than eight ounces, containing books, seeds, 
plants, etc., parcels of miscellaneous printed matter weighing more 
than four pounds; and all other parcels of fourth class matter weighing 
more than four ounces are chargeable, according to distance or zone 
at the pound rates shown in the table in Fig. 1987. A fraction of a pound 
is computed as a full pound. 


MartimnGc Lists anp Postat INFORMATION 745 


PARCEL POST ZONE RATES 


The local rate applies to parcels mailed at any post office for local 
delivery at such office, also at any city letter-carrier office, or at any 
point within its delivery limits, for delivery by carriers from that 
office; and at any post office from which a rural route starts, for de- 
livery on such route, or when mailed at any point on a rural route for 
delivery at any other point thereon, or at the office from which the 
route starts, or for delivery on any other rural route starting from the 
same office. 

DETERMINING THE ZONE 


For parcel post purposes the United States is divided into units 
of area thirty minutes square, which form the basis of eight postal 
zones. The number of the unit in which each office is located (a 
branch office or station being in the same unit as the main office) is 
shown after the name of the office in the state list in the Postal Guide. 

To ascertain in which zone a post office is located from the office 
of mailing, it is necessary to obtain first the unit number of the office 
of address from the Guide, then find the line containing this number 
in the zone key for the unit of the mailing office, and the figure in the 
column opposite will be the number of the zone. The Guide is appli- 
cable to all offices, but a separate zone key is required for each unit. 
The zone keys, which make the use of parcel post maps unnecessary, 
are furnished to purchasers of the Postal Guide or upon application 
to the postal service. 

The foregoing is the only plan by which the number of the zone 
may be definitely determined but the map as shown on page 747 may 
be used for convenience in ascertaining the approximate parcel post 
zone from any locality, and in a majority of cases its use will be found 
correct and dependable. Select any point, or city, on the map as a 
center and with a compass draw circles around this point to represent 
the different parcel post zones adjacent to that point. The compass 
should be adjusted to the scale of zone distances indicated at the 
bottom of the map. 

The eighth zone rate of 12 cents for each pound or fraction thereof, 
on all parcels weighing more than four ounces (except books, seeds, 
cuttings, bulbs, roots, vines and plants, weighing 8 ounces or less) 
applies between the United States and Hawaiian Islands, between 
any two points in Alaska, and between any point in Alaska and any 
other point in the United States, between the United States and the 
Canal Zone, between the United States and the Philippine Islands, 
between the United States and the Samoan group of Islands belonging 
to the United States, and between the United States and its naval 
vessels stationed in foreign waters. 

The rate of 12 cents for each pound or fraction thereof, also applies 
to fourth class matter including, seeds, cuttings, bulbs, roots, vines 
and plants (but excepting books and other printed matter on which 
the rate is 1 cent for each two ounces or fraction thereof in all cases) 
weighing more than four ounces and not exceeding four pounds six 
ounces when mailed to Canada, Cuba, Mexico and the Republic of 
Panama. | 


746 COMMERCIAL ENGRAVING AND PRINTING 


ZONES 


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und rates, mailed for de- 


ivery within tho first or | 


| 
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regular mail route from the | 


“| office of origin to the office 
of delivery is 300 miles or 
more, chargeable with post- 
age at the rate of 6 cents for 

12 | the first pound and 2 cents 
for each additional pound, 
a fraction of a pound being 

—,-| computed es a full pound. 


Line etching on zinc. Made from a black on white print from type. 
Fig. 1987. Parcel Post rates. 


WEIGHT AND SIZE LIMITS 


The weight limit for parcels mailed for delivery within the first, 
and second and third zones is 70 pounds, and for all other zones is 
50 pounds. Parcels addressed to the Philippine Islands must not 
exceed 20 pounds (other than Manila to which the weight limit is 
50 pounds) and Ioilo, Cebu and Zamboanga to which the weight limit 
is 44 pounds. Parcel post packages must not exceed 84 inches in length 
and girth combined. In measuring a parcel, the greatest distance in a 
straight line between the ends (but not around the parcel) is taken as 
its length; while the distance around the parcel at its thickest part is 
taken as its girth. For example, a parcel 10 inches wide, 5 inches high, 
and 35 inches long, measures 30 inches in girth and 35 inches in length, 
giving a total of 65 inches. 


BOOKLETS AND CATALOGS 


If a catalog or booklet contains less than 24 pages, it will take the 
third class rating. A greater number of pages makes it a ‘‘book’’ 
under postal regulations, and books take parcel post rates. If the 
book weighs 8 ounces or less, it takes a special rate of 1 cent for each 
2 ounces, regardless of distance. If it weighs more than 8 ounces, 
it takes the regular parcel post rate. 


WRAPPING, PREPARATION, ADDRESSING AND 
EXAMINATION OF MAIL MATTER 


The Postmaster General may prescribe, by regulation, the manner 
of wrapping and receiving for the mails all packages of matter not 
charged with first class postage, so that the contents of such packages 


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748 COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1922M. Halftone, 60 line screen. Fig. 1923M. Halftone, 85 line screen. 


Fig. 1926M. Halftone, 133 line screen. Fig. 1927M. Halftone, 150 line screen. 


Pages 745 to 752, inclusive, are printed on 19x26—311% lb. “Lancaster Bond, The Aristocrat of Bonds,” white, 
cockle finish, made by the Gilbert Paper Company, Menasha, Wisconsin. 


MartineG Lists AND Postat INFORMATION 749 


120 line screen. 


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Eoae Tooits-& Machinery FOR WOODWORKERS 


—— 


Fig. 1932M. Line etching on zinc of lettering with machine shaded ground. 


The illustrations on this and the opposite page are a part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


750 COMMERCIAL ENGRAVING AND PRINTING 


may be easily examined; and no package the contents of which can 
not be easily examined may pass in the mails, or be delivered at a less 
rate than for matter for the first class. 

Newspapers and periodicals mailed as second class matter must 
be wrapped in such manner that the wrappers can be removed and re- 
placed without destroying them or injuring their enclosures. When 
envelopes are used they should bear in addition to the name of the 
publication a notice of its entry as second class matter. 

Third class matter should be enclosed in an unsealed envelope or 
wrapped in such manner that the contents of the package can be 
easily examined. Unfolded cards and folded advertising cards, entirely 
in print, with a detachable part for use asa post card for reply may be 
mailed without cover. 

Parcels of fourth class matter must be prepared in such a manner 
that the contents may be easily examined. Matter may be enclosed 
in boxes to which the lids are nailed or screwed, if with reasonable 
effort the lids can be removed with chisel or screw-driver for purpose 
of examination. 

Matter of a higher class enclosed with matter of a lower class sub- 
jects the whole to the higher rate. Persons knowingly concealing 
matter of a higher class in that of a lower class for the purpose of evad- 
ae payment of the proper postage are liable to a fine of not more than 

100.00. 

When stamps are so affixed to mail that one overlies another con- 
cealing parts of its surface, the stamp thus covered is not taken into 
account in prepayment. 

Excepting second class matter each piece of all classes of mail to 
be distributed for local delivery or transmission in the mails, must be 
prepaid at the regular rate for that class of matter. 

The rules of the Post Office Department as set forth in the Official 
Postal Guide must be observed when mailing harmful, fragile and 
perishable articles as well as liquids. 

Window envelopes must bear the name and full address of sender, 
in the upper left corner of the addressed side. No printing around 
the window is permissible, nor on any part of the envelope where it 
will interfere with a distinct postmark, rating, endorsement, for- 
warding address, etc. Change in address must not be made on the 
window but on the opaque part of the envelope. The window, or 
transparent panel through which the address on the inclosure is dis- 
closed, shall be parallel with the length of the envelope and shall not 
occupy any space within 13 inches from the top nor within 3% of an 
inch from the bottom or ends of the envelope. The stationery used in 
window envelopes must be white, or if colored, of a very light tint or 
shade. Nothing but the name and address of the addressee should 
appear on that part of the inclosure visible through the “‘window.”’ 

The inclosure must be so folded that they will not shift around in 
the envelopes, obscuring the address in whole or in part. Window 
envelopes not conforming to the above are unmailable. 

The name of the person addressed, street and number, or number 
or letter of rural route, post office and state, should be written in full, in 
addressing all mail matter. When the name of the state is abbrevi- 


MaiLinGc Lists aND Postat INFORMATION 751 


ated, unless legibly written confusion often results due to the similarity 
in abbreviation for many of the states such as Virginia and Penn- 
sylvania (Va. and Pa.) Maryland and Indiana (Md. and Ind.) Colo- 
rado and California (Col. and Cal.) Mississippi and Minnesota (Miss. 
and Minn.) etc. 

Not less than 3 % inches of clear space should be left for the address, 
postage stamps, postmarking, rating, and any other words necessary 
for forwarding or return at the right end of the addressed side of all 
envelopes and folders, or wrappers of mail matter. 

If any mail matter, on which by law the postage required is to be 
paid at the mailing office, should by inadvertence reach its destina- 
tion without any prepayment, double the prepaid rate is charged and 
collected on delivery, and on all partly, but not fully prepaid matter, 
the deficient postage at the single rate will be charged and collected on 
delivery. 

Packages weighing four pounds or less containing matter of both 
the third and fourth classes are subject to postage at the third or fourth 
class rate, whichever is higher. Parcels exceeding four pounds in 
weight containing miscellaneous printed matter and fourth class matter 
are uniformly chargeable at the fourth class rates. 

Those having large quantities of circulars to mail should separate 
ste matter by States and post offices before sending to their post 
office. 

RETURN OF UNDELIVERABLE MATTER 


The sender’s name and address must be placed on all fourth class 
or parcel post mail, on all window envelopes, and on all registered 
mail and should be placed on all other mail in the upper left corner 
of envelope or wrapper. This will insure the return of first class 
matter when undelivered, and of mail of other classes under certain 
conditions. The Department requests a discontinuance of the practice 
of printing the return card on the back of the envelope. 

The writer’s card request for the holding of a letter for a period 
shorter than 3 days, or longer than 30 days will be disregarded, except 
that a special delivery letter bearing the specific request that it be 
returned to the writer if immediate delivery can not be effected will be 
so returned. 

City carriers’ returns of first class ordinary mail bearing the sender’s 
return request, which are not deliverable at the street addresses placed 
thereon by the senders, will be given directory service and, if addresses, 
the correctness of which is reasonably certain, are not found, such mail 
will be returned at once to the senders without regard to the number 
of days specified or implied by the return cards thereon. Such mail 
will not be placed in the general delivery nor held to await call. 

Undeliverable ordinary mail of the first class (except single postal 
cards and post cards) bearing the name and address of the sender 
without a request specifying a number of days will not be advertised, 
but will be returned to the sender at the expiration of five days if in- 
tended for delivery by village or rural carrier; ten days if intended for 
general delivery service at an office having city carrier service or fifteen 
days from offices not having city carrier service, unless intended for 
delivery by village or rural carrier. 


752 COMMERCIAL ENGRAVING AND PRINTING 


A definite return address is required. A request to return to office 
of mailing as indicated by the post-mark is insufficient. 

If the sender of a letter mailed in the envelope of a hotel desires 
to have the letter returned to him if not delivered, he should add to 
the hotel card a request to that effect, as unclaimed letters bearing 
the card of a hotel, club, school, college, or other public institution, 
which has evidently been printed on the envelope to serve as an 
advertisement, will not be returned unless the sender so requests. 


PERMISSIBLE ADDITIONS TO THE DIFFERENT CLASSES OF MATTER 


Directions for transmission, delivery, forwarding or return are 
deemed part of the address. 

To second class matter it is permitted to add the name and address 
of addressee, words or figures indicating the expiration of subscriptions, 
correction of typographical errors, marks only calling attention to cer- 
tain passages, the words ‘‘sample copy’’ when the matter is sent as 
such, the words “‘marked copy”’ when it contains a marked item. 

Periodical publications not desired may be refused and not removed 
from the post office, or they may be returned to the postmaster indorsed 
“Refused.” The Post Office Department does not determine questions 
regarding the liability of a subscriber for the subscription price of a 
publication. A subscriber to a publication should promptly notify the 
publisher of any change in his address. 

A pledge to furnish return postage on receipt of notice that the 
publication is undeliverable may be printed on the wrapper and the 
number of copies in the package may also be indicated. 

On the wrapper, envelope,*tag or label attached to third class 
matter, or on the matter itself, in addition to the name and address of 
the addressee there may be written or printed the name, occupation 
and residence or business address of the sender, preceded by the word 
“from.’’ There may also be placed on the wrapper, envelope, tag 
or label either written or otherwise the inscription ‘‘Do not open until 
Christmas,’’ or words to that effect. 

The words “please send out’’ or “‘post up”’ or similar directions, 
or requests not a part of the address or necessary to effect delivery, 
may not be placed upon the wrapper of third class matter or on the 
matter itself without subjecting it to postage at the letter rate. 

On the matter itself the sender may place all that is permitted on 
the wrapper and may make marks other than by written or printed 
words to call attention to any word or passage in the text and may 
correct any typographical errors. 

There may also be written or printed upon any photograph, or 
other matter of the third class, a simple manuscript dedication or 
inscription not in the nature of personal correspondence. Such words 
as ‘Dear Sir,’’ ‘My Dear Friend,’”’ ‘Sincerely Yours,” ‘Merry 
Christmas,” ‘‘with best wishes” written upon third class matter are 
permissible inscriptions. A serial number written or impressed on 
third class matter does not affect its classification. 

Written designation of contents such as “‘printed matter,” ‘‘photo- 
graph,” etc., is permissible on the wrapper of third class matter. 


99 66 


Maiuine Lists anp Postat INFORMATION 154 


A card bearing the written or printed name of the sender and a 
single order form with the greater part of the space blank, or a single 
combination coin card and order blank, with an envelope or post card 
for reply, may be enclosed with third class matter without changing 
its classification. 

On fourth class matter, marks, numbers, names, or letters for the 
purpose of description may appear or they may be placed on the 
wrapper, cover, tag or label. Simple manuscript dedications or 
inscriptions not in the nature of personal correspondence may be 
written on the blank leaves or cover of a book. It is permissible to 
enclose in the package a written or printed invoice showing the name 
and address of the sender and the addressee, names and quantities of 
the articles enclosed, together with inscriptions indicating “for purpose 
of description,” the price, style, stock number, size and quality of 
the articles, the order or file number, date of order, date and manner 
of shipment, and the initials or name of the salesman or of the person 
by whom the articles were packed or checked. Inscriptions such as 
“Merry Christmas,’’ ‘‘with best wishes,’’ ‘‘Do not open until Christ- 
mas”’ or words to that effect may be written on fourth class mail or on 
a card inclosed therewith. 

Sealed parcels of fourth-class matter may be mailed at the fourth- 
class rates of postage provided the parcels are labeled in printing to 
show the nature of contents as, for example, “MERCHANDISE- 
FOURTH-CLASS MAIL” together with the name and address of the 
manufacturer, producer, or shipper, and the inscription ‘‘Postmaster: 
This parcel may be opened for postal inspection if necessary.”’ 


LETTERS ATTACHED TO PARCELS 


A letter may be attached to a parcel post package when both are 
to go to the same address, so that both may be delivered together, 
but postage must be fully prepaid on each in accordance with its 
individual classification. The stamps to cover the postage on the 
letter must be attached to the letter and those to cover the postage 
on the parcel must be attached to the parcel. The envelope con- 
taining the letter must bear the same address as the parcel and must 
be securely attached to the parcel by tying or pasting under the string 
on the package so that it may not become separated while in transit 
and so as not to interfere with the address on the parcel. The complete 
parcel is treated as fourth class matter. When such parcels are sent 
as special delivery matter, only one special delivery fee is required and 
the stamp for special delivery must be affixed to the parcel. 

Letters may be attached to packages of third class mail in the same 
manner, in which case the combined package will be treated as third 
class mail. 

When two classes of matter are mailed together under this regula- 
tion in combination containers having two inseparable portions or 
compartments, it is desirable that the senders and addressee’s names 
and addresses appear on both portions, but if the sender so desires, 
the matter will be accepted with such name and addresses appearing 
on one portion only. 


754 COMMERCIAL ENGRAVING AND PRINTING 


Persons authorized to use precancelled stamps may afhx such stamps 
to the envelope when such stamps are used on the parcel. 


FAC-SIMILE REPRODUCTIONS 


Typewriting, and carbon and letter press copies thereof, are first 
class matter. Fac-simile copies of hand or typewriting produced by 
a mechanical process such as the printing press, mimeograph, multi- 
graph, etc., are treated as third class matter, provided they are mailed 
in a minimum of 20 identical unsealed copies at the post office or other 
depository designated by the postmaster. Elsewhere or in smaller 
quantity, they are subject to first class rate. 


SENDER’S RECEIPT FOR PARCEL 


When desired a receipt is furnished the sender of an ordinary 
fourth class parcel by the mailing office upon payment of one cent. 
This does not insure the parcel against loss, and no receipt is obtained 
from the addressee on delivery. 


INSURED MAIL 


Domestic parcel post mail, may be insured against loss, rifling or 
damage in an amount equivalent to its actual value up to $5, for a fee 
of three cents; $25 for five cents; $50 for ten cents or $100 for twenty- 
five cents, in addition to the postage. Both postage and fee must be 
paid by postage stamps affixed to the parcel. Such mail may be in- 
sured at any post office or station thereof, or by rural carrier, but must 
not be deposited in street mail boxes or mail drops at post office. | 

Parcels that are to be insured, or transmitted C. O. D. must be 
legibly and correctly addressed and bear the name and address of the 
sender, the necessary stamps to pay postage and fee and if a return 
receipt is demanded the words ‘Receipt Desired” should be conspic- 
uously written on the insured package directly above the name of the 
addressee. Matter indefinitely addressed or addressed to fictitious 
names, to initials, or to box numbers simply, will not be accepted. 
This applies to the names and addresses of senders as well as addressees. 

The value of insured parcels should not be placed on the wrappers 
or on labels affixed to the parcels. 

Parcels may also be insured when addressed to the Island posses- 
sions and territories of the United States. 

In case of the loss of insured mail addressed to the Philippine | 
Islands, indemnity is payable only when the loss (or damage) occurred | 
in the postal service of the United States, and not that of the Philip- 
pines. 


Cc. O. D. MAIL 


Fourth class or domestic parcel post mail, may be sent C. O. D. i.e. 
the price of the article and the charges thereon (including if desired, the 
postage and fee prepaid) will be collected from the addressee on pay- 
ment of a fee of ten cents in stamps affixed to the parcel in addition to 
the regular postage, provided the amount to be remitted does not 


Martine Lists anp PostaL INFORMATION 155 


exceed $50. For a fee of twenty-five cents in addition to regular 
postage, C. O. D. shipments are accepted within a remittance limit of 
$100. The amount to be collected and remitted must not in any case 
exceed $100. 

In addition to domestic destinations, parcels may be sent C. O. D. 
when mailed at and addressed to money order offices in the Island 
- possessions and territories of the United States. 

i Parcels for foreign countries are not accepted for insurance or 
<i Cha RE 

C. O. D. parcels become automatically insured up to $50 or $100 
respectively, according to fee paid, without additional charge, against 
the non-receipt of returns therefor, if delivered and collection is 
affected; and against loss, rifling or damage in an amount equivalent 
to the actual value except that in the case of C. O. D. articles for the 
Philippines, indemnity will not be paid in any one case in excess of 
$50.00 on account of injury or loss thereof. 

C. O. D. parcels at the request of the addressees may be held for a 
period not in excess of that stated in senders’ return request, or in the 
absence of return requests, may be held thirty days at the request of 
the addressee. Such parcels may be held thirty days at the request of 
the sender. 

If the sender directs, the amount originally stated as due him on 
delivery of a C. O. D. parcel may be increased (not to exceed $100), 
decreased or cancelled. Such directions should be filed with the post- 
master at the office of mailing, who will notify the postmaster at office 
of address. 

Senders may, after obtaining the approval of the Third Assistant 
Postmaster General, Division of Registered Mails, of a proof sub- 
mitted for that purpose, print their own C. O. D. tags, provided they 
are in all respects substantially like those furnished by the Department. 
These tags may have an extra coupon placed next to the delivery 
office portion, on which the senders may endorse their own file or 
account numbers, which will be returned with the money order by the 
Postmaster who makes delivery of the C. O. D. parcel. 

The addressee shall not be permitted to examine the contents of 
a C. O. D. parcel until it has been receipted for and all charges paid. 
No exception can be made because of request or representations of 
senders or addressees. 

When a C. O. D. parcel is undeliverable to the person to whom 
addressed, and the sender directs delivery and collections from another 
person at the office where it is held, the Postmaster will make such 
delivery, collecting the original charges or such altered charges as the 
sender may direct. 

Insured and C. O. D. parcels which bear the pledge of the sender 
to pay the postage for forwarding or return, may be forwarded to the 
addressee or to such other person as the sender may direct at another 
postoffice, or returned to the sender charged with either the forwarding 
or return postage, or both as the case may be, to be collected on 
delivery. 

Undeliverable insured or C. O. D. parcels containing perishable 
matter, either with or without such pledge, may be forwarded to the 


756 CoMMERCIAL ENGRAVING AND PRINTING 


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Fig. 1922N. Halftone, 60 line screen. Fig. 1923N. MHalftone, 85 line screen. 


Fig. 1924N. Halftone, 100 line screen. Fig. 1925N. Halftone, 120 line screen. 


r 
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Fig. 1926N. Halftone, 133 line screen. Fig. 1927N. Halftone, 150 line screen. 


Pages 758 to 760, inclusive, are printed on M. F. Writing, white, 19x26, substance 24, made by Columbian Paper 
Company, Buena Vista, Va. 


Martine Lists AND Postat INFORMATION 757 


ia 
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Fig. 1928N. Open or grey halftone, Fig. 1929N. Line etching on zinc 
120 line screen. from a pen drawing. 


MH chiteattares 


Fig. 1930N. Line etching on zinc 
from a crayon drawing. 


” 


FOR WOODWORKE 


Fig. 1932N. Line etching on zinc of lettering with machine shaded ground. 


The illustrations on this and the opposite 
different kinds of engravings to different kin 


page are a part of a series demonstrating the suitability of 
ds of papers. See explanation on page 672. 


758 COMMERCIAL ENGRAVING AND PRINTING 


addressee or returned to the sender charged with the postage therefor, 
such postage to be collected on delivery. 

When insured or C. O. D. parcels, which are not perishable and do 
not bear the pledge to pay return postage, are refused, the sender will 
be immediately notified to furnish return postage or to direct dis- 
position of the article. 

When such parcels are undeliverable for any other reason the sender 
will be notified at the expiration of the period, not in excess of 30 days, 
named on the return request, or, if no period is stated, not later than 
30 days. 

Postal money orders are the only means by which sums collected 
on packages sent by C. O. D. parcel post are remitted to the sender of 
the parcels; thus C. O. D. parcels will not be accepted unless addressed 
to post offices that transact money order business. 


SPECIAL DELIVERY SERVICE 


This is the prompt delivery of mail by messenger, during pre- 
scribed hours, to persons who reside within the carrier limits of city 
delivery offices, to patrons of rural service who reside more than one 
mile from post offices but within one-half mile of rural route, and to 
residents within one mile of any non-city delivery post office. 

This service is obtained by placing on any letter or article of mail 
a special delivery stamp, or ten cents worth of ordinary stamps in 
addition to the lawful postage. When ordinary stamps are used the 
words “Special Delivery’’ must be placed on the envelope or wrapper 
directly below, but never on the stamps; otherwise the letter or article 
will not be handled by special delivery service. 

The hours of delivery are from 7 a.m. to II p.m. at city delivery 
offices, and from 7 a.m. to 7 p.m. at all other offices, or until after the 
arrival of the last mail, provided that be not later than 9 p.m. Special 
delivery matter will be delivered at post offices of the first and second 
classes on Sunday, and at other offices if open on Sunday. Special 
delivery will be made at all offices on holidays. 

When special delivery matter is registered or sent C. O. D. the 
usual registry or C. O. D. receipts will be taken, and receipts for special 
delivery ordinary mail are required of the addressee or his agent. In 
the absence of the addressee, or some person authorized to receive his 
mail, special delivery ordinary mail may be placed in the usual mail 
receptacle (including door slot). Where there is no receptacle, a notice 
will be left to inform the addressee of the attempted delivery, and 
that the matter can be obtained by calling at the office (or station) 
prior to the next delivery by carrier. Special delivery ordinary mail 
not called for after such notice, will be delivered as ordinary mail. 
Matter too large to be placed in the regular receptacle will not be left 
when there is no response to the bell. The postal regulations direct 
that large envelopes and flat mail must not be folded in order to insert 
them in a box. 


At office buildings and apartment houses, an attempt will first be ~ 


made to deliver to the addressee personally in his office or apartment, 
but if such delivery is impossible, then the mail will be:placed in letter 
boxes of such buildings or houses and a notice to call at the box will be 


Maitine Lists anp Postat INFORMATION 759 


left under the door. This, of course, does not apply when the box is 
located at the door. 

Special delivery mail may be forwarded under the same rules as 
ordinary mail and is then entitled to special delivery service unless an 
attempt was made to effect delivery at the office of the original address. 

A special delivery stamp does not insure unusual safety or a personal 
delivery to the party addressed. The special delivery system is de- 
signed to expedite and not to safeguard mail. The registry system is 
provided to insure safety, and special delivery mail containing cur- 
rency or other articles of value should also invariably be registered. 


REGISTERED MAIL 


The Registry system provides special safeguards for the trans- 
mission of money and other valuable mail to domestic and foreign 
destinations, furnishes receipts to the mailer, and provides for in- 
demnity in case of loss, rifling or damage. The per cent of loss of 
registered mail is very small. 

Any mailable article, except unsealed fourth class matter (parcel 
post) for domestic destination may be registered on payment of the 
proper postage and the registry fee at any postoffice or station, to a 
rural carrier, or to a city carrier in the residential districts if the article 
is not cumbersome. 

Domestic parcels containing fourth class matter may also be 
registered if sealed and the usual fee and postage at the first class rate 
is paid. ; 

Mailable Postal Union articles addressed to foreign countries may 
be registered if paid at the foreign rates applicable to the several 
classes of matter mailed. International parcel post articles to certain 
countries may also be registered. For list of such countries consult 
your postmaster. 

To obtain a receipt from the addressee ‘‘Receipt Desired’? must be 
plainly endorsed on the addressed side. 

Letters which the sender desires delivered to addressee in person 
should be plainly endorsed ‘‘Deliver to Addressee Only” on the address 
side. 

Indemnity or actual loss, in amount claimed, but not exceeding 
$50 upon payment of a registry fee of 10 cents and $100 upon payment 
of a registry fee of 20 cents in the case of first class-domestic registered 
mail, and $25 in the case of third-class domestic registered mail for 
which a fee of 10 cents is chargeable, is paid, to the sender, or, at his 
request, to the addressee, or to such other person as may justly be 
entitled thereto in the case of domestic registered mail. Indemnity 
within the prescribed limit will be paid in case of loss or irreparable 
damage, the market value of the article at the time of loss, or its value 
on date of mailing, if date of loss can not be ascertained; the actual 
and necessary cost of repairs; the actual, direct, and necessary expenses 
of duplicating valuable papers, or the original cost of such papers when 
not duplicated. Claims must be made within one year from date of loss. 

Registered mail may be forwarded before it has been once properly 
delivered, without additional charge for registry fee upon the written 
request of the addressee, of the sender through the mailing postmaster, 
or of any person to whom the addressee’s mail is deliverable. 


760 COMMERCIAL ENGRAVING AND PRINTING 


Undelivered registered mail of the first class is returned to sender 
or forwarded to addressee without extra charge. Additional postage 
but not registry fee, is required for the return or forwarding of registered 
mail of the second or third class. If such mail bears the pledge of the 
sender to pay the postage such postage will be charged on the article 
and collected on delivery. Otherwise the sender or addressee will be 
notified to furnish the additional postage before the second or third 
class article will be returned or forwarded. 

The fee on registered first-class matter, domestic or foreign, indem- 
nified for $50 or less is ten cents, indemnified for over $50 and not in 
excess of $100, 20 cents, in addition to the regular postage for each 
letter or parcel, both to be fully prepaid by stamps affixed. On articles 
of the second class (no indemnity), 10 cents and on articles of the third 
class, indemnified for not exceeding $25, Io cents, in addition to the 
regular postage. On fourth class matter sealed the fee is same as on 
first class matter. 

Matter for registration must be legibly and correctly addressed 
and must bear the name and address of the sender, the necessary 
stamps to pay postage and fee, and if a return receipt is requested, 
the words “Receipt Desired.” 

Matter indefinitely addressed or addressed to fictitious names, 
initials, or to box numbers simply, will not be accepted for registration. 
This applies to the names and addresses of senders as well as addressees. 


AEROPLANE MAIL SERVICE 


Mail carried by areoplane is charged with postage at the rate of 
two cents an ounce or fraction thereof, such mail to consist of matter 
of the first class, including sealed parcels not exceeding thirty inches 
in length and girth combined. Special aeroplane stamps are not 
required and any stamps good for postage may be used. 


THE POSTAL MONEY ORDER SYSTEM 


Not all post offices are money order post offices. A separate 
register of money order post offices is published annually and such 
offices are designated by special symbols in the state list of offices in 
the Official Postal Guide. 

There are two kinds of money order offices, domestic and inter- 
national. Domestic offices are authorized to issue money orders 
payable only in the United States and its possessions and certain 
foreign countries where the money order business is transacted on the 
domestic basis. International offices not only issue and pay such 
orders as domestic offices but in addition thereto issue orders on and 
pay orders drawn by certain foreign countries. | 

The maximum amount for which a single money order may be 
issued is by law $100, but there is no restriction as to the number of 
domestic orders that may be issued in one day to the same remitter. 

A money order is issued by the postmaster upon the filing of an 
application therefor. The special form of application is furnished by 
the postmaster and must be filled out by the applicant legibly to show 
the name of the payee, the amount for which the order is to be written, 


7 Oe 


Martine Lists anp PostaL INFORMATION 761 


the name and address of the remitter as well as the city and local 
address of the payee. 

A money order will be paid to the person named therein or his 
endorsee, or agent or attorney, upon his written order on due pre- 
sentation at any time within one year from the last day of the month 
of its issue. A money order drawn in favor of a person residing ona 
rural route may be paid through the carrier, if entrusted to him for 
collection with a written request addressed to the postmaster that 
payment be so made. 

More than one endorsement of a money order is prohibited by law; 
but there is no objection to the signatures affixed thereto by others 
in token of identification or guaranteeing signature of payee or 
endorsee. 

When a domestic money order has been lost, the owner may by 
making application to the postmaster at any money order office within 
one year from the last day of the month of its issue, obtain a duplicate 
payable within that period. 

Original domestic money orders issued in continental United States 
exclusive of Alaska are payable on presentation and proper identifica- 
tion at any money order postoffice in continental United States exclu- 
sive of Alaska, within thirty days of issue, after which time they may 
be paid only at office drawn upon or office of issue. A money order 
bearing marks of alteration of date or amount may not be paid at any 
office other than the one drawn upon, or the office of issue. A dupli- 
cate money order may be paid only at the office on which the original 
was drawn or at the office at which the original was issued. 

The fees charged for domestic money orders are as follows: 


$ .O1 to $ 2.50 3 cents $20.01 to $30.00 12 cents 
2.51 to 5.00 5 cents 30.01 to 40.00 15 cents 
5.01 to 10.00 8 cents 40.01 to 50.00 18 cents 
I0.0I to 20.00 10 cents 50.01 to 60.00 20 cents 


$60.01 to $75.00 25 cents 
75-01 to 100.00 30 cents 


The fees charged for international money orders are as follows: 


$ .O1 to $10.00 10 cents $50.01 to $60.00 60 cents 
10.01 to 20.00 20 cents 60.01 to 70.00 70 cents 
20.01 to 30.00 30 cents 70.01 to 80.00 80 cents 
30.01 to 40.00 40 cents 80.01 to 90.00 go cents 
40.01 to 50.00 50 cents 90.01 to 100.00 $1.00 


POSTAGE STAMPS 


Adhesive postage stamps are issued by the post office department 
in the following denominations: 
I, 2, 3, 4, 5, 6, 7, 8, 9, 10, II, 12, 13, 14, 15, 20, 25, 30 and 50 cents; $1, 
$2, and $5; special delivery stamps 10 cents; stamp books containing 
24—I cent, 96—I cent, 12—2 cent, 24—2 cent, 48—2 cent, or 24 
each I cent, and 2 cent stamps. These booklets are interleaved 
with paraffined paper to protect the stamps, and are sold at an advance 
of I cent each over the value of the stamps. The 1, 2, 3, 4 and 5 cent 
stamps are also supplied in coils, 500 or 1,000 with a coiling charge of 
3 cents and 6 cents respectively above the value of the stamps. 


762 COMMERCIAL ENGRAVING AND PRINTING 


The Department is also prepared to issue I cent and 2 cent postage 
stamps without the usual perforations, when desired in that form for 
sale to the public for use in automatic stamp affixing or stamp vending 
machines. The unperforated stamps are in sheets of 400 each and 
may be purchased in any quantity not less than a sheet of 400 and 
they must be used on mailing to be despatched from the post office 
from which they are purchased. Users must cut such stamps apart 
accurately. 

The stamps supplied in coils are coiled on paper cores one half inch 
in diameter. In ordering such stamps it is necessary to specify the 
denomination, whether desired in coils of 500 or 1000 and, whether 
the strips should be arranged with the stamps end-wise or side-wise. 
One cent and two cent stamps may be obtained coiled endwise or 
sidewise, while three cent, four cent, five cent and ten cent stamps are 
coiled sidewise only. 

Postage stamps, postal cards and stamped envelopes of varieties 
for which there is comparatively little public demand are not ordi- 
narily kept on sale in post offices but postmasters will always upon 
request provide themselves with listed varieties usually not carried 
in stock. Such requests should be made in time to enable the post- 
master to obtain the supplies by the time required. 


REDEMPTION OF STAMPS, STAMPED ENVELOPES AND POSTAL CARDS 


Adhesive postage stamps held by the public are not redeemed nor 
exchanged unless an error has been made in the denomination, in 
which case application for exchange should be made at the post office 
within two business days by the original purchaser. 

Stamped envelopes spoiled in addressing are redeemable at postage 
value if presented at postoffice in a substantially whole condition, and 
unmutilated postal cards are redeemable at 75 per cent of face value. 
However, stamped envelopes or postal cards bearing printed addresses 
are redeemable from original purchasers only. When redemption is 
required of specially large quantities of postal cards or stamped enve- 
lopes, postmasters are required to submit the application to the 
Post Office Department for special ruling. Redemptions are made in 
postage stamps, stamped envelopes or postal cards, as preferred by 
the owner, but not in cash. 

All postage stamps, stamped envelopes and postal cards issued 
by the United States since 1860 are good for postage in the United 
States. 

NOT GOOD FOR POSTAGE 


Postage due and special delivery stamps, mutilated or defaced 
stamps, internal revenue, war savings and thrift stamps, and stamps 
cut from embossed stamped envelopes, newspaper wrappers or postal 
cards are not good for postage. 


PERFORATED STAMPS 


Postage stamps to be acceptable for postage, must be without 
defacement, but for the purpose of identification only and not for 
advertising it is permissable to puncture or perforate letters, numerals 


Martine Lists anp PostaL INFORMATION 763 


or other marks or devices in United States postage and special delivery 
stamps. The punctures or perforations shall not exceed 1/32 of an inch 
in diameter, and the whole space occupied by the identifying device 
shall not exceed one half inch square. The puncturing or perforating 
must be done in such manner as to leave the stamp easily recognizable 
as genuine and not previously used. The use of ink or other coloring 
matter in connection with such puncturing or perforating is prohibited. 


PRECANCELLED POSTAGE STAMPS 


Precancelled postage stamps may be used only by the persons or 
concerns who have received a permit to use them. Such stamps are 
good for the prepayment of postage only on matter of third and fourth 
classes, and on second class matter when mailed under certain condi- 
tions, when presented at the office where precancelled. Information 
in regard to obtaining such a permit and the conditions governing the 
use of precancelled postage stamps is obtained through the local post- 
master. 

The advantages in using precancelled stamps are that they insure 
quicker distribution of mail matter at the post office and lessen the 
amount of handling necessary. The latter is a point worthy of special 
consideration when a catalog or booklet and its container is particu- 
larly elaborate and costly and would suffer from much handling. 


THE SPECIAL PERMIT——MAILING MATTER WITHOUT 
STAMPS AFFIXED 


Many firms who mail large quantities of advertising matter find 
the use of a special permit for mailing without stamps a great con- 
venience to themselves and an aid in facilitating distribution by the 
postal department. Persons desiring the privilege of mailing any 
class of mail matter without stamps affixed, should make application 
therefor to their postmaster who will, after he has been properly 
authorized by the Third Assistant Postmaster General, Division of 
Classification, issue a permit, the regulations of which, in every case, 
must be completely complied with or the postmaster will refuse to 
receive the matter in the mails. On each separately addressed piece 
of matter mailed under such a permit, in the upper right hand corner 
of the addressed side of the envelope, wrapper, address label, or tag 
must be printed a statement showing the amount of postage paid per 
piece, the word ‘‘Paid”’ and the name of the post office and state where 
mailed, followed by the permit number, and in the case of first class 
matter, such other information as may be required, all in the form 
and in the size of type prescribed in the permit. 

Each mailing under such a permit may consist of first class matter, 
quantities of not less than 300 identical pieces of third class matter and 
second class matter at the transient rate or the rates applicable to 
copies mailed for local delivery by letter carriers at city delivery 
offices, and 250 identical pieces of fourth class matter without stamps 
affixed, the postage thereon being paid at or before the time the 
matter is presented for mailing, either in money or at the option of the 
postmaster at his risk, by check drawn to his order. 


a 


screen. Fig. 1923P. Halftone, 85 line screen. 


Fig. 1924P, Halftone, 100 line screen. Fig. 1925P. Halftone, 120 line screen. 


oy ea 


Fig. 1926P. Halftone, 133 line screen. Fig. 1927P. Halftone, 150 line screen. 


Pages 761 to 768, inclusive, are printed on 25x38—70 Ib. White Eggshell, made by The Champion Coated Paper Co., 
Hamilton, Ohio. 


Matuine Lists anp PostaL INFORMATION 765 


Fig. 1928P. Open or grey halftone, Fig. 1929P. Line etching on zinc 
120 line screen. from a pen drawing. 


OOG F ' 


Ses 


= 


2 


Fig. 1930P. Line etching on zin 
from a crayon drawing. 


MANUFACTURERS 
EDGE Toots-& MacnHineRy FO he 


i 


Fig. 1932P. Line etching on zinc of lettering with machine shaded ground. 


The illustrations on this and the opposite page are a part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


766 COMMERCIAL ENGRAVING AND PRINTING 


Each mailing must be accompanied with a statement signed by the 
sender, showing the permit number, the class of matter, the total 
number of pieces in the mailing, the amount of postage chargeable 
thereon, and, except as otherwise provided in the Department’s instruc- 
tions, the exact weight of a single piece, and such other information as 
may be required. 

To facilitate the handling of such matter in the mails, the mailer 
must comply with all reasonable requests of the postmaster for the 
separation thereof into states, counties, cities, etc. 


STAMPED ENVELOPES AND NEWSPAPER WRAPPERS 


A copy of the current price schedule of stamped envelopes and 
newspaper wrappers may be examined at any post office or a copy may 
be obtained from the Fourth Assistant Postmaster General, Division 
of Equipment and Supplies. 

Number five, eight and thirteen 1-cent envelopes may be obtained 
with ungummed flaps for the mailing of third class matter. 

When so ordered in lots of 500, or a multiple of 500 of a single size, 
quality and denomination, the Department prints the purchaser’s 
return card on stamped envelopes—the return card to consist of a 
request to return after a given number of days, the name of the pur- 
chaser and his street number, post office box, or other local address; 
post office, county and state. The Department is prohibited by law 
from printing advertisements on stamped envelopes. The printing | 
of return cards is done on special order, which should be placed at the 
purchaser’s post office. Two kinds of type are used, a large type 
for short names and a condensed type for long names. The style of 
return card is as follows: 

For envelope intended to enclose letters— 

After five days, return to 
JOHN DOE, 
1234 5th St., 
NEW YORK, N.Y. 
For envelopes intended to enclose third class mail— 
After five days, return to 
RICHARD ROE, 
678 oth Ave., 
CHICAGO) IER: 
Return Postage Guaranteed 


The Department requires that the name of the street and number 
be included in return cards printed by it for post offices having city 
delivery service, or instead the name of a building and room number 
therein, if the building is sufficiently well known to be listed in the 
city directory, or the names of intersecting streets with the exact 
location, or a post office box number. 

Stamped envelopes may be obtained in three forms, first unprinted. ~ 
Second, they may be obtained with printed blank return cards known 
as ‘‘office request’’ envelopes, and are kept on sale in post offices. The 
return card includes blank lines on which the owner’s name and local 
address or post office box may be written by hand, the name of the post 
office and state being printed. Third, with printed return card as 
previously mentioned. 


Marine Lists anp Postat INFORMATION 767 


Stamped newspaper wrappers may be obtained in one cent de- 
nomination, size 5 1/2x10 1/2 inches and two cent size 8x12 inches. 

Window stamped envelopes may be obtained in sizes 5, 7, 8, and i. 
The windows are 4 15/16 inches long x 1 3/16 inches high. In the 
number five envelope the window is located about 5/8 inch from the 
left edge and 7/16 inch from the bottom; in the number thirteen 7/8 
inch from the left and 7/16 inch from the bottom; in the number seven 
3/4 inch from the left and 1/2 inch from the bottom and in the number 
eight 3/4 inch from the left and 9/16 from the bottom. Window 
stamped envelopes are furnished either with or without printed return 
cards. They are sold plain to those who desire to print their return 
cards in special forms. This information is given so that those in- 
terested may determine whether the addresses on their enclosures will 
fit the window. 

Stamped envelopes may be obtained in the following sizes and 
denominations: 

No. 3—3 3/8 x 5 7/8 in —1 and 2c 


No. 5—3 1/2 x 6 5/16 ‘‘ —1—2 and 5c 
NOn i 37/5 %).8,7/8 —". —2 and ac 

No. 8—4 1/8 x 9 1/2. “ —1—2—4 and 5c 
Wo. -9—4 3/8 «x10 1/8  “ —2 and 4c 

No, 13—3 3/4 x 63/4 ‘“* —1and 2c 


All of the above are furnished with low backs, some may be obtained 
in as many as three different qualities of stock and some numbers may 
be obtained in blue, all being obtainable in white. Certain qualities 
and denominations may be obtained with high backs in numbers 5, 7, 
8 and 13. Certain denominations in 5, 8, and 13 may be obtained in 
an extra quality of white paper. 

The number 5 window envelope may be obtained in denominations 
of one and two cent; the number 8, in one and two cent; the number 
13, in one and two cent; these in white or blue. 


POST CARDS (PRIVATE MAILING CARDS) 


Post cards manufactured by private persons or concerns, whether 
they bear a written message or are entirely in print, are transmissable 
without cover in the domestic mails, (including the possessions of the 
United States) and to Canada, Cuba, Mexico, Republic of Panama, 
and to certain other countries at the rate of 1 cent each, when they 
consist of an unfolded piece of cardboard in quality and weight sub- 
stantially like government postal cards and when they do not exceed 
in size approximately 3 9/16 x 5 9/16 inches and when they are not 
smaller than approximately 2 3/4 x 4 inches. This ruling includes 
all cards within the size limit as given above, it being immaterial 
whether they bear the words ‘‘post card’’ or not. Advertisements 
and illustrations may appear on the back of the card and on the left 
half of the face, but the right half of the face must be reserved for the 
address, postage stamps, postmark, etc. 

Cards which do not conform to the foregoing conditions are charge- 
able with postage at the letter rate if wholly or partly in writing or at 
third class rate if entirely in print. 


768 COMMERCIAL ENGRAVING AND PRINTING 


Double or reply post cards, each portion of which conforms in size, 
quality, etc., to the foregoing conditions are subject to one cent postage, 
to be prepaid on the initial portion. 

The reply half, when detached and mailed, is also subject to one 
cent postage. The postage on the reply half need not be affixed thereto 
until it is detached from the initial half and mailed for return. 

Folded advertising cards and other matter entirely in print ar- 
ranged with a detachable part for use as a post card are mailable as 
third class matter. 

Printed pieces on heavy paper or cardboard which are transmitted 
through the mails without folding are referred to as mailing cards. 
While there is no special restriction as to size, yet if they are made too 
large they are likely to be broken or torn before reaching their desti- 
nation. The post office department suggests that when cards are 
prepared for mailing they do not exceed approximately 4 x 9 inches in 
size and that ample clear space be left at the right portion of the address 
side for postage stamps, postmark, address, forwarding instructions, 
etc. Cards of this size can be readily handled with other mail and 
will reach their destination in good condition. 


POSTAL CARDS 


Postal cards are furnished at the postage value represented by the 
stamp impressed thereon; single postal cards for domestic and foreign 


correspondence at 1 cent and 2 cents each, respectively, and reply ~ 


(double) postal cards at 2 cents and 4 cents each, respectively. Ad- 
dresses on postal cards may be written, printed, or affixed thereto and 
advertisements, illustrations, or writing may appear on the back of 
the card and on the left third of the face. 

The following varieties of postal cards are issued: No. 5, one 
cent domestic single, 3x5 inches; No. 8, one cent domestic single, 
3 1/4 x 5 1/2 inches; No. 6, one cent domestic reply 3 1/4 x 5 1/2 
inches (each half); No. 7, two cents foreign single 3 1/4x5 1/2 inches; 
“F” two cents—foreign reply—3 1/2 x 5 1/2 inches (each half). 

When so desired for printing purposes postal cards are furnished 
in sheets as follows. No. 5, one cent single 18 cards a sheet, two cards 
wide by nine cards long (10 x 27 inches); No. 6, one cent double 24 
cards to the sheet, four cards wide by six cards in length (22 x 19% 


inches); No. 8, one cent single forty-eight cards a sheet, sheet four 


cards wide, by twelve cards in length (22 x 39 inches). To be valid 
for postage the sheet cards must be cut to regulation size after printing. 


POSTAGE DUE—SHORT-PAID MAIL 


Postmasters are required to exercise care to prevent the dispatch 
of short-paid first class matter without being rated with the postage 
due on it. A decided down weight subjects matter to additional 
postage. 

When a piece of mail matter reaches the office of address without 
postage having been fully prepaid, the required amount of postage due 
is collected of the addressee on delivery. The amount due must 
invariably be paid in cash. 


Mattine Lists anp PostaL INFORMATION 769 


Double the prepaid rate will be collected on all pieces dispatched 
inadvertently without any prepayment. On pieces partly prepaid, 
only the deficient postage will be collected. 


FORWARDING OF MAIL 


A person desiring to have his mail forwarded should file a request in 
writing giving his present address, the full address to which mail is to 
be forwarded and the time during which the order is to be observed. 

Upon being properly readdressed and deposited in the post office 

originally addressed, or street letter box, mail (except pension checks) 
may be forwarded after delivery. This applies to mail erroneously 
delivered or addressed; to mail addressed in care of another; and to 
mail opened inadvertently upon misdelivery, in which case it should be 
endorsed “opened by mistake” and signed by the person who opened it. 

Only first class mail can be forwarded from one post office to 
another without an additional payment of postage. This includes 
letters and other first class matter prepaid one full rate (2 cents), 
postal cards, post cards (private mailing cards) and official matter. 
Mail of the second, third and fourth classes is chargeable with addi- 
tional postage every time it is forwarded, as follows: 


Second class matter, 1 cent for each 4 ounces or frac- 
tion thereof. 

Third class matter, 1 cent for each 2 ounces or frac- 
tion thereof. 

Fourth class (parcel post) matter at the rate applicable 
to parcel post between the forwarding office and the 
one to which the parcel is forwarded. 


Perishable fourth class mail of obvious value may be forwarded 
to the addressee, and mail of the second, third and fourth classes 
which bears a pledge to pay the forwarding postage may be forwarded 
to the addressee, or such other person as the sender may direct, at 
another post office, and the forwarding postage collected on delivery. 
Other mail of these classes will not be forwarded until the necessary 
postage is first prepaid. If the addressee of such mail has filed a for- 
warding order, a notice will be sent him advising that the matter will 
be forwarded on receipt of postage therefor. 


UNDELIVERABLE MAIL—RETURN OF, ETC. 


Letters and other mail of the first class prepaid one full rate 
(2 cents); official matter and reply (double) postal cards, and single 
postal and post cards deposited for local delivery, when undeliverable, 
will be returned to the sender without additional postage, provided 
such mail bears the name and address of the sender. 

Single postal cards and post cards bearing written communications 
not deposited for local delivery will not be returned to the sender. 
Such cards wholly in print, may, if they bear the sender’s return card 
and pledge to pay the return postage, be returned charged with postage 
at the third class rate to be collected on delivery. 


770 COMMERCIAL ENGRAVING AND PRINTING 


Undeliverable mail of the third and fourth classes, and that of the 
second class mailed by the public, which bears the pledge of the sender 
that postage for its return will be paid, and undeliverable perishable 
fourth class mail of obvious value, will be returned to the sender and 
the return postage collected on delivery. 

When other mail of these classes of obvious value is undeliverable, 
the postmaster will notify the sender of that fact; and such matter 
will be returned to the sender only upon new prepayment of postage. 

After notification of non-delivery such matter will be held not longer 
than two weeks, unless the office of mailing be so remote from the 
office of address that a response could not be received from the sender 
within that time. ; 

The senders of ordinary third class matter that is obviously without 
value, and does not bear the senders’ pledge to pay return postage, 
will not be notified of the non-delivery of such matter. 

Postmasters are required to endorse or stamp upon every unde- 
liverable article of mail matter the reason for non-delivery such as— 
‘“unknown’’—‘‘refused’’—“‘firm dissolved’’—"‘removed’”’—etc. When 
no other reason can be ascertained the matter shall be endorsed “un- 
claimed.”’ 

LOST, DAMAGED OR DELAYED MAIL MATTER 


There is no provision for the payment of indemnity for the loss of 
or damage to mail not insured, sent C. O. D., or registered. 

However, postmasters and other postal officers are required to 
report every complaint made to them or which comes to their knowl- 
edge, of the loss, rifling, wrong delivery or other improper treatment by 
postal employees of, or damage to, any article of mail matter. 

The sender of lost, damaged or delayed matter should file with the 
postmaster written complaint on printed form furnished by the post- 
master—the envelope or wrapper to be submitted when possible. 


OBJECTIONABLE MATTER 


The following are considered objectionable by the postal authori- 
ties: Envelopes, folders, cards, etc., exceeding in size approximately 
4 inches by 9 inches, or of such irregular shape that they frequently 
cannot be run through the cancelling machine. In many instances 
such matter does not fit the separating cases and cannot be tied with 
the ordinary packages of mail without being folded or cut by the 
package string. Those less than 2 3/4 x 4 inches are also objectionable. 

The use of wire clips, or pins likely to injure the hands of the clerks 
handling. Pins are in fact specifically prohibited. 

Protruding folds. 

Novelties of large and unusual shape, particularly if they are 
extremely small or large. 

Ill-fitting, flimsy envelopes and wrappers. 

The use of tags. The post office department emphasizes the 
superiority of gummed labels for addresses. However, not much 
objection could be made to linen tags, which are very strong and 
durable. One of the very best methods of preparing small articles of 


Maiiine Lists anp Postat INFORMATION 771 


merchandise for mailing is to enclose them in cloth sacks or merchandise 
bags, manufactured specially for this purpose, and containing a special 
address tag. 

s Stamps not placed in the upper right corner of article on the address 
side. 

Illegible or insufficient address. 

The use of dark colored stationery on which the addresses are 
difficult to read, and pieces which carry so much printed matter on 
the addressed face as to make it difficult to decipher the address and to 
provide space for stamps, postmarking, and forwarding instructions. 

Matter mailed under the foregoing conditions requires special 
handling in the cancellation of stamps thereon, separation, distribution, 
etc., and is thus not only frequently delayed in transit, but also often 
reaches its destination in a damaged condition. 

Not less than 31% inches of clear space must be left at the right end 
of the address side of all envelopes, folders, or wrappers of mail matter 
for the address, postage stamps, postmarking, rating and any words 
necessary for forwarding or return. 


UNMAILABLE MATTER 


Domestic mail matter which is not admissable to the United States 
mail for despatch or delivery in the United States or in its possessions 
includes all matter illegibly, incorrectly, or insufficiently addressed; 
first class matter not prepaid one full rate (2 cents) and all other matter 
not fully prepaid; all matter exceeding the limit of weight or size pre- 
scribed by law; game killed or offered for mailing in violation of the law. 
Meat and meat food products of cattle, sheep, swine, goats and horses 
presented without the required certificate of inspection or exemption; 
plants and plant products not accompanied with certificate required; 
intoxicating liquors; explosive or inflammable articles, poisons, live 
animals, fowls, insects and reptiles (for exception see your postmaster), 
any article exhaling a bad odor; postal and post cards bearing particles 
of glass, mica, sand, tinsel or other similar substances, except when 
inclosed in envelopes tightly sealed; obscene or indecent matter; 
dunning or defamatory postal or post cards; and all matter con- 
cerning any lottery, so called gift concerts, endless chain or other 
enterprise of chance, or concerning schemes devised for the purpose of 
obtaining money or property under false pretenses. 


NON-POSTAGE STAMPS 


Many countries refuse to admit to their mails articles bearing 
non-postage “Christmas” stamps or other adhesive charity stamps 
or labels unless postage thereon is prepaid and unless the non-postage 
stamps are affixed to the back and not to the address side of the covers. 
Unless the foregoing conditions are complied with, articles bearing 
non-postage stamps will not be despatched from this country but will 
be returned to the sender if known, otherwise will be sent to the 
Division of Dead Letters. 


Viz COMMERCIAL ENGRAVING AND PRINTING 


Fig. 1926R. Halftone, 133 line screen. Fig. 1927R. Halftone, 150 line screen. 


Pages 769 to 776, inclusive, are printed on 25x38—70 lb. White Laid Book, made by The Champion Coated Paper 
Co., Hamilton, Ohio. 


art 


Martine Lists anp PostaL INFORMATION bts 


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Fig. 1928R. Open or grey halftone, Fig. 1929R. Line etching on zinc 
120 line screen. from a pen drawing. 


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from a crayon drawing. 


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MANUFACTURERS 4} ; 
Eoce Too.s-& Macninery FOR WOODWORKERS = 


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Fig. 1932R. Line etching on zinc of lettering with machine shaded ground. 


The illustrations on this and the opposite page are a part of a series demonstrating the suitability of 
different kinds of engravings to different kinds of papers. See explanation on page 672. 


7174 COMMERCIAL ENGRAVING AND PRINTING 


MAILING RECORDS 


Manifold firm mailing records in loose leaf or in books are supplied 
by postmasters to patrons who frequently, or at intervals, present an 
average of three or more articles for registration, insurance or C.O.D. 
Special authorization is unnecessary to use these books. 


FOREIGN MAIL MATTER 


Articles for foreign countries, except Canada, Cuba, Mexico and 
the Republic of Panama are not designated first class matter, second 
class matter, etc., but are classified as letters, post cards, printed 
matter, commercial papers, and samples of merchandise and are sub- 
ject to the following rates of postage: 

Letters 2 cents per ounce or fraction of an ounce, for Argentina, 
Bahamas, Bermuda, Bolivia, Brazil, British Guiana, British Honduras, 
Caicos Island, Canada, Cayman Islands, Colombia, Costa Rica, Cuba, 
Dominican Republic, Dutch West Indies, Ecuador, England, Guate- 
mala, Haiti, Honduras, Ireland, Jamaica, Leeward Islands, Mexico, 
Newfoundland, Netherlands West Indies, New Zealand, Nicaragua, 
Panama, Paraguay, Peru, Salvador El, Samoa Western (British), 
Scotland, Spain and Colonies, Turks Islands, Uruguay, Wales, and 
Windward Islands. 

Letters for all other foreign countries, 5 cents for the first ounce 
or fraction of an ounce, and 3 cents for each additional ounce or frac- 
tion of an ounce. 

Printed matter of all kinds one cent for each two ounces or fraction 
of two ounces. 

Commercial papers, five cents for the first ten ounces or less and 
one cent for each additional two ounces or fraction of two ounces. 

Samples of merchandise, two cents for the first four ounces or less, 
and one cent for each additional two ounces or fraction of two ounces. 

Registration fee in addition to postage ten cents. 

In order to insure prompt and safe transmission.to destination of 
articles addressed to foreign countries, senders should make the address 
legible and complete, giving the name of the country and of the town 
or post office and in case of cities or towns the street number should be 
indicated. Avoid using flimsy paper for envelopes, as they are likely 
to be torn or destroyed in the long transit. Avoid sealing wax on the 
covers as letters so sealed often adhere to each other, and the addresses 
on some of the articles are destroyed by the tearing of the cover in the 
attempt to separate the articles. See that postage stamps affixed to 
the covers of articles of printed matter do not adhere to the articles 
themselves, thus virtually sealing the packages and thereby subjecting 
them to additional postage at the letter rate on delivery. 

Owing to the various rulings of different countries, to determine 
the rates, classifications and conditions under which matter may be 
mailed to a certain country the latest Official Postal Guide and supple- 
ments and the Postal Laws and Regulations should be consulted. 


Maintine Lists anp PostaL INFORMATION rigas: 


CUSTOMS DUTIES 


The question whether or not an article sent by mail from one 
country to another is subject to customs duty in the latter country 
can be decided only by the country to which the article is sent, and is 
not affected by any postal convention between said countries. The 
post office department therefore, does not exclude articles of merchan- 
dise from the regular mails for foreign countries, (unless they have been 
specifically prohibited), because they may be liable to customs duties 
in the countries to which they are addressed. They are accepted at the 
sender’s risk. Any country may refuse to deliver dutiable articles 
received in mails from other countries, and may dispose of them in 
accordance with the customs regulations of that country. The Depart- 
ment is not authorized to question the decision of foreign officials in 
such matters any more than foreign officials would be authorized to 
question the decision of the United States officials respecting the 
liability to United States Customs duty on an article received here in 
mail from abroad. 

Customs duties cannot be prepaid by the sender of dutiable ar- 
ticles; they will be collected of addressees if the articles are delivered. 

It is suggested that senders avail themselves of the facilities of the 
Bureau of Foreign and Domestic Commerce of the Department of 
Commerce, Washington, D. C., in order to obtain information con- 
cerning the custom restrictions of foreign countries. 


INTERNATIONAL PARCEL POST 


Parcels may be sent to certain countries by International Parcel 
Post. A list of countries to which parcels may be sent by this method 
with information as to maximum dimensions and weight as well as 
articles that are prohibited will be found in the Official Postal Guide. 

Mailable fourth class parcels for Canada shall not be registered 
unless they are sealed and prepaid at the letter rate of postage. If they 
do not exceed eleven pounds in weight, they may be insured upon 
application under the same conditions, in so far as applicable, as apply 
to domestic fourth class (parcel-post) mail. The domestic insurance 
fees will apply to insured parcels for Canada. 

The postage rate on acceptable matter, for all countries is 12 cents 
a pound or fraction of a pound to be prepaid with postage stamps 
affixed. 

For certain countries a transient charge is added which also must 
be prepaid by postage stamps affixed. 

Parcels for foreign countries cannot be insured or sent C.O.D. and 
for some countries they cannot be registered. 

A parcel for a foreign country must not be posted in a letter box, 
but must be taken to the post office and handed to the postmaster, or 
other official in charge. 

A delivery fee of not less than 5 cents is collectable when the parcel 
is delivered. This fee cannot be prepaid by the sender. 


776 COMMERCIAL ENGRAVING AND PRINTING 


A customs declaration properly filled out must be securely attached 
to every parcel; but so attached that it does not seal or close the parcel 
so that it cannot be easily opened without damaging the cover. The 
contents must be accurately described in the English language, al- 
though an interlineation in another language, if desired, may be 
furnished. 

The form for filling out will be furnished by the postmaster. ° 


INTERNATIONAL REPLY COUPON 


A reply coupon may be purchased (price 11 cents) at post offices 
which upon presentation at a post office in practically any country in 
the world will entitle the person presenting the coupon to receive 
(without charge) postage stamp or postage stamps of that country 
representing the postage on a single-rate letter originating in that 
country for abroad. By this arrangement a person in the United 
States can furnish his correspondent with postage with which to prepay 
postage on a reply to his letter. 


COMPLAINTS AND INQUIRIES 


All complaints in regard to mail should be addréssed to the local 
postmaster, and whenever possible should be accompanied with the 
envelope or wrapper of the piece of mail to which the complaint refers. 
An early report should be made relative to lost or missing mail of any 
description. 

Complaints in general affecting the service should likewise be made 
to the postmaster, but when that course is manifestly improper under 
the circumstances, they should be addressed to the Post Office Depart- 
ment, Washington, D. C. More than one subject should not be 
treated in the same letter. 

Postmasters and all others in the Postal Service are forbidden to 
furnish lists of names of persons receiving mail at their offices or to 
give information as to the post office addresses of former patrons. 
They, however, are permitted, though not required to correct mailing 
lists, by crossing off the names of persons to whom mail can not be 
delivered or forwarded; add the correct street, rural or box number; 
correct initials where apparently there has been a bonafide intention 
to write a name known to the sender of the list; and when two or more 
names appear at any one address, the head of the family may be in- 
dicated if known. Addresses of persons who have removed to other 
post offices will not be furnished, nor will new names be added to the 
list. Under the above limitations, and with the consent of the owner 
of the list, corrections may be made at first and second class offices by 
substitute clerks at the owners’ expense at the rate indicated in Section 
299, Postal Laws and Regulations. Postmasters at third and fourth 
class offices are not prohibited from making a reasonable charge for 
such work. } 


*Fig. 1990. 


O be able to locate instantly a certain printing plate or piece 

- of copy and to find it in perfect condition is a state of efficiency 

- that every user of plates desires but which few realize. As the 

frequency and manner of their use is uncertain, to prevent loss of time 

in searching for missing plates or copy, and to prevent loss due to 

carelessness in filing, it is necessary that a systematic and adequate 
method be adopted for their care. 

The smallest user of plates will find it worth while to carry in his 
card index a memorandum for each of the few plates he may have, 
while the large user will find it absolutely essential to care for his copy 
and plates properly, not only as a matter of convenience but to save 
expense in replacing them. 

Those who use this material in quantities will find that it accumu- 
lates rapidly. That files may be free from all ‘‘dead’’ material, plates 
that have been damaged, by wear or otherwise, those of obsolete 
numbers or patterns, and those having no further value for other 
reasons should be disposed of, leaving the filing facilities entirely for 
“live” plates and copy. 

Damaged copy or plates that are to be used again should be at once 
put in proper repair or replaced with new. This will insure against 
delay the next time they are wanted quickly, as well as against the 
temptation to spoil a piece of printed matter by using a worn or dam- 
aged plate to save a little time. It will also prevent accidental order- 
ing of a new plate from an imperfect piece of copy through oversight. 

The lack of uniformity in size of copy and plates in nearly every 
line of business makes it necessary to provide a flexible filing system. 
The probable number of plates or pieces of copy to be cared for and 
the frequency with which they are likely to be used, must also receive 
due consideration in planning a system. The line of business and its 
size and the amount appropriated for installing the system, too, must 
be taken into consideration. The system can be only outlined here in 
a general way; details must be worked out to fit the individual case. 


DETAILS TO CONSIDER 


Proper preservation should receive first consideration. Dirt, 
dampness, extremes of temperature, rats, mice, cockroaches, etc., must 
be avoided to prevent swelling and shrinkage or warping of wood 


*Square-outline halftone, 133 line. Made from a wash drawing. 


778 COMMERCIAL ENGRAVING AND PRINTING 


blocks, stains and corrosion of printing surfaces, or faded, mutilated, 
cracked and scaled copy. Careless handling, or the promiscuous 
piling of plates in bunches or drawers without proper packing between, 
will result in scratched or damaged plates, necessitating extensive 
repairs or new plates. The use of plates for improvised rubber stamps 
or for paper weights is not conducive to their high printing qualities. 

The next consideration should be the ease with which they can 
be referred to. This not only has reference to the receptacles for filing, 
but to the related system of records. The possibility of the use of 
material in many different pieces of printed matter, the loan of it to 
customers, trade journals, advertising agencies, etc., makes it necessary 
to keep a record of each individual piece of copy and each plate in order 
to be able to determine its location and its probable condition at all 
times. 

THE IDEAL SYSTEM 


The metal fire-resisting sectional cabinet is of course the ideal 
system for filing this material. Except for the fire-resisting feature of 
the metal equipment, the sections of wood are just as convenient and 
serviceable and somewhat less expensive. 

The sectional system may be begun in a small way and added to 
from time to time as necessity may require. Built for office use, the 
appearance is such as will permit its being put in the most convenient 
place without injury to the aspect of its surroundings. As sections 
may be added to the system for other purposes than the-filing of 
plates and copies, it will be found a great convenience to have the entire 
filing system combined; sections for correspondence, card indexes, 


Courtesy Yawman & Erbe Mfg. Co., Rochester, N. Y. 


Line etching on zinc. Made from a pen drawing. 


Fig. 1991. Suggestion for sectional filing equipment for 
drawings, photographs, plates, index cards, etc. 


CARE AND FILING oF PLATES AND Copy 779 


ee i. s @ 
Outline halftones, 133 line. Made from retouched photographs. 


*Fig. 1992. Shallow drawers. Fig. 1993. . Card file tray. 


bookcases, legal blanks, documents, cupboards, storage, etc., being 
installed in connection with those needed for the plates and copy. 
The shallow drawer just deep enough to take in the type high printing 
plate permits of easy examination of contents, and as these sections 
may be built in with those for filing the copies from small to large 
sizes, the plan will be found most convenient. 

All plates should be thoroughly cleaned before filing. Ink that is 
allowed to remain on the plate will harden and will be more or less 
difficult to remove later on. Many times plates may be cleaned with 
benzine or diluted concentrated lye and a soft brush. In cleaning 
plates mounted on wood blocks, care should be taken that the blocks 
do not become damp or wet, thus causing them to swell or warp. The 
_ printing qualities of a plate are not always affected by discoloration. 
Only by thoroughly cleaning the plate and afterwards taking a proof 
from it can it be determined whether or not the discolored part is 
damaged. 

THE CARD INDEX 


A card index of the plates and copy on file is almost indispensable, 
even though the number of pieces to be cared for is limited. A 5x3 
index card will probably be found most convenient unless proofs of 
plates are to be pasted to the card, in which case a card should be used 
that is large enough to permit the mounting of proofs without folding, 
using, of course, one of the standard sizes such as 6 x 4, 8 x 5, or larger. 
In the case of proofs of large plates, envelopes may be used in the index 
or pasted to the back of the card, to contain a folded copy of the proof. 
Where there are facilities for making proofs from the plates, a rough 
print of the entire plate on the back of the index card, or as much of 
the essential part as will go on, will conserve space in the index file, 
make the cards ride better and otherwise be of great convenience. 

When there is only a limited number of index cards, these may be 


*The photographs from which the halftones were made for Figs. 1992, 1993, 1997, 2001 and 2002 were furnished 
through the courtesy of Yawman & Erbe Mfg. Co., Rochester, New York. 


ES 


Fig. 1922S. Halftone, 60 line screen. Fig. 1923S. Halftone, 85 line screen. 


x 


Fig. 1924S. Halftone, 100 line screen. _ Fig. 1926S. Halftone 120 line screen. 


" m 


Fig. 1926S. Halftone, 133 line screen. Fig. 1927S. Halftone, 150 line screen. 


Pages 777 to 784, inclusive, are printed on 25x38—60 Ib. White Koatine, made by The Champion Coated Paper 
Co., Hamilton, Ohio. 


781 


CARE AND Fininc or PLATES AND Copy 


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from a pen drawing. 


Fig. 1928S. Open or grey nalttore, 
120 line screen. 


Fig. 1930S. Line i ae on zinc 
from a crayon drawing. 


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Fig. 1932S. Line etching on zinc of lettering with machine shaded ground 


MANUFACTURERS = = 
Eoace Toots & Machine OR WooDwoRKERS | 
£ ?) 
pposite page are a part of a series demonstrating the suitability of 

7 


See explanation on page 672. 


ent kinds of papers. 


The illustrations on this and the o 
different kinds of engravings to differ 


782 COMMERCIAL ENGRAVING AND PRINTING 


filed in a desk tray of current data, separate, of course, from other 
matters. When there are a larger number of plates to be cared for, a 
separate tray or a number of trays may be used. 

Making the necessary record on the index card before filing a plate 
or piece of copy, or before permitting it to leave the files for any pur- 
pose whatever, will prove a great factor in keeping files and records 
in proper condition. 

All drawers or compartments that are to receive copy or plates 
should be properly labeled, each being given a separate number. 

By way of suggestion two index cards are illustrated herewith, one 
for plates and one for copy, which contain complete data and which 


Line etching on zinc. Made froma pen drawing on which the text was typewritten. The shading machine was used 
on the print on metal to obtain the tint effect. 


Fig. 1994. Copy and plate index cards. 


will be found practical and convenient. The former carries on the 
reverse side a record of the electrotypes that may be made from a plate. 

When a large number of pieces are to be taken care of it is advisable 
to subdivide into departments, giving each department a letter or 
number to designate that department. 

The index cards should be filed alphabetically or numerically with 
reference to the subject of the drawing, or plate, and without regard 
to the file number. 

All pieces of copy should be properly titled or numbered before 
filing, putting the title and number on the margin or back in ink so 
that it may remain permanently. : 

All plates should also be permanently marked and wherever pos- 
sible this should be done with a steel stamp on the bevel or some other 
part of the plate that is not printed from. Marks on blocks with 
pencil, pen and ink or brush are usually obliterated or made illegible 
with the first washing of plates after their use. While the steel stamp 
may be used on wood bases, this is not always permanent inasmuch 
as it is frequently necessary to remount and in changing of blocks the 
marking would be lost. 


CARE AND Fininc oF PLATES AND Copy 783 


Where subdivisions are made, drawers or compartments may be 
labeled as to contents as well as being designated by number. 

Although different files are used for copy and for plates, the same 
file number may be used for both if this is thé trade or stock number. 

Regardless of the number of plates or pieces of copy to be cared 
for, the card index system will be found a great convenience in keeping 
trace and locating the various pieces. It will also assist in utilizing 
all drawer space, as each drawer can be filled to capacity, no classifi- 
cation being necessary unless for a very large number of plates. 

In the ordinary establishment it will require only a few moments 
each day, on the average, to care properly for the card index record, 
and if this is done it will be found that the time has been well spent. 
Without such a record it is a very easy matter to misplace a plate or 
copy, or to lend it to a customer and temporarily forget it after the 
lapse of a few weeks. The index card, having a place and being always 
in its place, will always be consulted first and its record will indicate 
just what steps to take. 

Plates should not be crowded in the drawers. Fill each drawer 
comfortably but do not make it necessary, when replacing plates, to 
turn the drawer into a set of puzzle blocks where each plate must 
occupy a certain position in order to get them all in. Under such con- 
ditions it is very natural in re-arranging the plates to pile some on top 
of others and in doing this care must be taken not to mar or scratch 
the printing surfaces. 

While drawers may be partitioned to an advantage in the separa- 
tion of plates under different classifications, partitions separating the 
drawer into small compartments are a waste of space unless the plates 
to be filed are very small in size. 

In classifying, a letter of the alphabet may be used to denote the 
classification, following this with the number of the article, and then 
following with the filing drawer number, preceded by a hyphen. Thus 
characters A230-1 stamped on a plate of dresser would indicate that 
all dressers appear under classification ‘“‘A,” that the factory or trade 
number of this piece is 230, and that the plate is filed in drawer number 
I of class A. Or the hyphenated number can be used to designate a: 
particular plate or piece of copy that had been made of that number. 

One method of filing copy is the use of an envelope of a size to fit 
in the regular vertical letter size filing drawer. Or if the copy is of 
such size as to require it, a cap size drawer with envelope to corre- 
spond can be used. 

The illustration, Fig. 1995, shows an envelope used by an automatic 
scale concern for filing copy—chiefly photographs. This envelope serves 
several purposes: First, it protects the copy from damage. Second, 
it provides an easy, convenient method of filing and finding pieces of 
copy. Third, it provides a proof record of all printing plates which 
have been made from the copy, showing where those printing plates 
were used and when and where they can now be located. In addition 
to this, the envelope, on the face of it, gives some very valuable data 
in regard to the copy which is inside and serves also as a convenient 
data file for information related to the copy in the envelope. 


784 COMMERCIAL ENGRAVING AND PRINTING 


Line etching on zinc. Made from a pen drawing on which the text was typewritten. The shading machine was used 
on the print on metal to obtain the tint effect. 


Fig. 1995. Envelope used for filing photographs 
and small drawings. 


When copy is not too large, this system offers numerous advantages 
in that it combines the copy record with the plate record. It will be 
noticed that each plate bears a number and the plates are filed in a 
separate file, being indexed as described in a card index system. 

This card index system, however, is not necessary save when the 
number of printing plates on hand as well as the number of pieces of 
copy is very large and when the method of keeping record of these 
things is necessarily somewhat complicated. The average business 
can use to very good advantage the envelope system which combines 
copy file, copy record and plate record as well as valuable data. 

Any system, however carefully planned, must be rigidly adhered 
to if it is to be successful. There must be a place for everything and 
everything in its place. The careless dumping of copy and plates from 
drawers, bins, etc., should not be tolerated, but instead each and every 
item when examined or removed from its place should be returned to 
that place in proper condition. 

It is well to use one color of index cards for plates and another 
color for copy. These cards when filed in the same tray should be 
kept entirely separate with the index card for each. ) 


SCRAP BOOK FOR PROOFS 


Proofs may be taken of plates that are to be filed and these mounted 
in a scrap book or blank invoice book. Only rough proofs are neces- 
sary, just plain enough for identification purposes. These may be 
marked to correspond with the number of the plate, and the number 
of the file drawer or bin. When the plate is taken from the file, nota- 
tion may be made on the margin of the proof of the date, and for what 
purpose the plate is taken out and to whom sent. When the plate is 
returned to the file, the memorandum may be erased or proper nota- 
tion made. The same plan may be followed with copy. 


CARE AND FILING or PLATES AND Copy 785 


Outline-vignette halftone, 150 line. Made froma photograph on which the vignette was painted. 
Fig. 1996. Book file for proofs. 


WRAPPING IN PACKAGES 


If plates are to be filed in drawers that have a greater depth than 
the regular plate filing cabinet drawers, each plate should be wrapped 
separately. It is not necessary to wrap plates that are to be filed in 
shallow drawers where there is no possibility of other plates being 
placed on top of them. All dirt and grit should be carefully wiped 
from the face of the plate, the plate wrapped in soft paper, and the 
package sealed with adhesive tape. By pasting a rough proof on the 
outside of the package, the contents may be easily identified without 
unwrapping the package, then by the use of marking brush, coarse 
pen or pencil the necessary filing title or number may be placed on the 


Outline halftone, 133 line. Made from a retouched photograph. 


Fig. 1997. Storage shelving for packages, etc. 


786 COMMERCIAL ENGRAVING AND PRINTING 


Outline-vignette halftone, 150 line. Made from an unretouched photograph on which the vignette was painted. 


Fig. 1998. Wrapping sets in separate packages. 


edge of the package. Plates so wrapped and marked may be filed on 
edge, in bins, or placed one above the other with the labeled edges 
exposed. The card index system may be used in connection the same 
as if they were filed in cabinet drawers. Unwrapped plates should 
never be placed loosely one above the other in a file, bin, or drawer, 
for damage to the printing surfaces is sure to follow. 

Color plates whether mounted on wood or unmounted should be 
filed in packages, a complete set to a package, with proof pasted on 
the outside of the package. Blotting or other soft paper should be 
placed between plates. The face of the top plate in the package should 
be turned down to insure absolute protection. In the case of process 
color plates or other sets where the printer will require progressive 
proofs, these proofs should be filed with the plates inside the package. 
Also all plates that are used as a series (where one would not be used 
without the other) should be filed in one package. 

Electrotypes, stereotypes, etc., should not be filed with original 
plates. These plates are usually made up with the expectation of 
sending them to customers and should be handled as stock rather 
than a part of the filing system. Their separation also prevents the 
possibility of shipping originals when electrotypes should have been 
sent. 


Outline-vignette halftones, 150 line. Made from slightly retouched photographs on which the vignettes were painted. 


Fig. 1999. Wrapped separate for Fig. 2000. Filing in shallow 
filing or storage. boxes. 


CaRE AND Fininc or PLates AND Copy 787 


FILING PLATES IN SHALLOW BOXES 


When only a limited number of plates are to be cared for until the 
sectional cabinet of drawers can be installed, it will be found practical 
to use shallow boxes either of wood or pasteboard. Pasteboard boxes 
in which photographers’ dry plates have been packed are very con- 
venient for this purpose and almost every commercial photographer 
has a surplus of them. These boxes come in sizes 8x 10, I0x 12, 
12X15, 14x17, etc., and are just about the right depth to take in a 
type high plate. Plates filed in such boxes should be covered with a 
sheet of blotting or other soft paper. The edges of the boxes should 
be numbered the same as the drawer in cabinet section, or compart- 
ment in bins. 


FILING COPY 


Drawings as well as plates should be kept from extremes of tem- 
perature, light and dampness. This applies especially to wash draw- 
ings, photographs and retouched photographs. 

Photographs, retouched or unretouched, and wash drawings should 
be mounted on cardboard that is sufficiently heavy to keep them flat 
and protected. They should be supplied with a cover pasted on the 
back top edge and folded over so as entirely to cover the face, or 
they may be enclosed in suitable envelopes. A wide margin or mat, 
except for appearance is unnecessary, and adds to inconvenience in 
filing. On copy frequently used, especially wash drawings and re- 
touched photographs on which there is air brush work, damaged covers 
should be repaired before filing, and it is also well tu remove all pencil 
marks or other memoranda that may have had reference to plates that 
have been finished. These data, unless they are to be followed each 
time a plate is made, are likely to cause confusion. Quite often an 
engraver receives copy on which more than one size is indicated, these 
having reference to previous orders, and unless the size for the current 
order is particularly specified, an error is possible or there is delay 
until size can be verified. 


Outline halftones, 133 line. Made from photographs of retouched photographs. 


Fig. 2001. Horizontal and tilting. Fig. 2002. Vertical. 


Files for large drawings. 


788 COMMERCIAL ENGRAVING AND PRINTING 


Unmounted photographs are in danger of damage through tearing 
of edges or breaking of corners through accidental folding or rough 
handling, and any piece of copy that is likely to be used more than 
once should be properly mounted. 

Copy should be numbered, classified and filed in the same manner 
as indicated for plates. 

In order to accommodate the various sizes of photographs, draw- 
ings, etc., drawers of different sizes are necessary, and a sectional 
system is ideal, as different sized drawers may be added from time to 
time in units of the proper size. Also the vertical filing system is much 
to be preferred to flat drawers, as the desired pieces of copy may be 
readily found without the removal of other copy in the same com- 
partment. This also eliminates danger of damage to copy by frequent 
handling. The tilting form of drawer for the larger pieces of copy is 
especially advantageous. The larger the drawing the more difficult 
to handle and preserve, and it requires patience as well as care to go 
through a large number of large drawings in a flat drawer without 
damage. 

The use of the sub-number on copy or plates indicating the drawer 
or compartment will serve as a double check to insure the placing of 
the piece in its proper place. 

Any difficulty in locating the index card of a certain subject in a 
large filing system may be overcome by cross indexing. 

Plates of different kinds and sizes from the same copy, or different 
pieces of copy representing the same article, such as photographs, 
retouched photographs, pen drawings, etc., may be filed under the 
same number but given a different sub-number. 

A follow-up system should be in force for all loaned plates or draw- 
ings so that these may be returned to their proper files with as little 
delay as possible. By placing a signal on index cards to plates or copy 
out of file, and occasionally glancing over these signals, one will have 
a very ready and practical follow-up system. The form illustrated is 
a combined plate record and follow-up. 

Plates that are to be electrotyped frequently should be left in the 
hands of the electrotyper and an identification number should be 


Line etching on zinc. Made from a pen drawing on which the text was typewritten. The shading machine was used 
on the print on metal to obtain the tint effect. 


Fig. 2003. Follow-up index card for loaned plates. 


CARE AND FILING oF PLATES AND Copy 789 


given to each plate for convenience in sending orders. This will save 
possible damage to plates, or loss in transit. Also drawings that are 
to be used frequently for plates should be left in the hands of the 
engraver. This will save expense in shipping back and forth, also 
prevent possible loss and damage. 

One person should do all of the indexing and filing of plates. Or 
at least one person should determine the titles for the different plates 
and pieces of copy. 

Printers will find it more convenient to file customers’ plates in 
packages, numbering the package to correspond with the job number 
on which they were used. These packages may be filed alphabetically 
or numerically in bins with card index system in connection. Every 
printer should make it a rule to take a receipt for plates delivered. 
Stock plates may be filed by separate system, such as we have outlined 
for the use of the customer. Mats for stereotyping, copper plates for 
visiting or business cards, may be filed by the vertical index system, 
while steel dies, lithograph engravings and plates used in other pro- 
cesses may be filed under one of the plans we have mentioned. 

Department stores, catalog houses, and those using plates in large 
numbers file by departments. 

It may not be amiss here to suggest that all printed matter should 
be delivered in packages of 25, 100, 250, or 500 pieces, the number 
of pieces to the package depending upon the bulk of the individual 
piece, and the frequency with which the customer will probably use 
the matter. A little forethought on the part of the printer in making 
up the packages so that they can be easily handled and conveniently 
used with the minimum of waste, will result in a bit of satisfaction 
on the part of the user that will have considerable good-will value to 
the printer. Making the packages uniform in size and appearance 
will also assist the customer in making an inventory quickly at any 
time. 

VALUE OF OLD PLATES 


Everyone who uses printing plates accumulates a greater or less 
number of them which have no further value for use in printing and thus 
inquiry is frequently made as to the value of such plates to the manu- 
facturing engraver. Such plates have no value whatever except as old 
metal, as the making of new plates requires the use of new material. 
The old plates may be disposed of to any dealer who buys old copper, 
lead, zinc, etc., and to get the most out of them they should be re- 
moved from the backing, separated from the nails and sorted and 
classified according to the metal in them. All copper plates should be 
in one lot, all zinc plates in another, all electrotypes in another, stereo- 
types in another, etc. As some metals have a higher value than others, 
by sorting in this manner, full value for each kind may be obtained. 


INVENTORY VALUES 


About inventory time inquiry is frequently made as to what value 
should be placed upon copy and plates on hand. Conditions in each 
case must determine this, as values would differ, depending upon the 


Pages 785 to 792, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champicn 
Coated Paper Co., Hamilton, Ohio. 


790 COMMERCIAL ENGRAVING AND PRINTING 


purpose of the inventory, whether to ascertain the condition of a 
going concern, transfering a business from seller to buyer or of an 
insolvent for liquidation. Pieces of copy of subjects that are obsolete 
have no value whatever, although it is sometimes possible to use them 
further after making alterations, in which case they should be given 
a value commensurate with their probable use. Plates of such sub- 
jects usually have no value except as old metal as it is seldom practical 
to alter a plate. Pieces of copy and plates that have been used and 
are of live subjects, should be given a value proportionate to their 
probable further use, while new material on hand or in preparation 
should be included at its cost. Some firms also take into considera- 
tion, for inventory purposes, the cost of planning illustrations, as well 
as the cost of photographing, art work and plates. 


Outline-vignette halftone, 150 line. Made from a slightly retouched photograph on which the vignette was painted. — 
Fig. 2004. The way not to do it. 


* APPENDIX «@ | 
= 


—— > — 2 
*Fig. 2010 


SILK STENCIL PROCESS 


This work is done under various trade names and is a method of 
producing designs and advertising matter in poster effect without the 
use of engraved plates or a printing press. It is a stencil process, there- 
fore limited to solid colors, and is adaptable to the production of 
posters, show-cards, window displays, etc., in any number of colors. 
The stencil consists of a sheet of silk gauze stretched on a frame to 
form a screen. After the design has been made it is placed under the 
screen and a tracing of the outline of the design is made on the silk, 
as a guide for the register of the colors. The artist then paints over the 
parts of the screen that are not to print, using a composition to fill the 
pores of the silk, but leaving undisturbed the parts which are to form 
the design which is to print in the color for which the stencil is being 
made. In this manner a stencil is made for each color to be used in the 
design. The upper ends of the stencil frames are fastened to.a table by 
hinges so that they are interchangeable and may be raised and lowered 
freely, as the films on a shading machine, and when lowered in position 
will always be in register. The frame with stencil is raised for the in- 
sertion underneath of the cardboard, tin, wood or other material on 
which the design is to be printed, and is then brought down in contact 
with it. The color—ink, oil paint or other medium—is applied to the 
surface of the stencil with a special dauber or squeegee and is forced 
through the pores of the stencil, leaving the design in one color as 
represented by that stencil on the material being printed. The printed 
sheets are placed on racks to dry. When dry the next color is applied 
in proper register with another stencil and so on until the job is 
completed. 

While this is rather a slow process it is practical because of its 
simplicity and requires but little equipment. It also makes possible 
the production of effective work at a comparatively low cost, especially 
where the required quantity of prints is not large, or in printing on 
materials that cannot be handled on ordinary printing equipment. 


HAND COLORING 


Many prints from halftones and other kinds of engraved plates 
and photographic prints may be effectively colored by hand with 
transparent colors. This method is often used to obtain subjects in 
color when the cost of plates and the printing of them would be pro- 
hibitive, as would be the case were only a limited number of prints 
required. Work of this kind is frequently used on photographic prints 
for sales purposes and on halftone and other kinds of prints for book 
and brochure inserts, street car and advertising cards, theatre lobby 
displays, calendar backs, etc. It is also used for art subjects for 


*Border composed on the Linotype. Foundry type used for the word and ornaments. 


792 COMMERCIAL ENGRAVING AND PRINTING 


framing because of the soft, pleasing effects that may be obtained, 
and it can be used on photographs of merchandise without loss of 
detail in the original subject. 

Some subjects are, of course, better adapted to hand coloring than 
others, and best results are to be had if the plate from which the 
prints are made, as well as the prints themselves, are prepared with a 
view to obtaining the special effects sought. Parts that are to receive 
a strong color should be made so as to appear light in the print, that 
the color may be full when applied over the part. Also the color chosen 
for making the print to be colored may be of marked assistance in 
obtaining the desired effect, with a minimum amount of hand work. 
Subjects in which high-lights and middletones predominate, with little 
or no solid color, are best for this work. While hand coloring is usually 
applied to prints that have been made in one color, it may also be used 
on subjects printed in more than one color and on those printed with 
duotone ink. 

Owing to the smoothness with which the color may be applied, and 
the ease with which colors may be blended, it is usually put on with an 
air brush, while small details and touching up is done with a sable 
brush by hand. Where a number of prints of the same subject are 
being colored a stencil, in which openings have been cut for the patches 
of color, is used in applying each color, thus making it possible to do 
the work rapidly as well as to retain uniformity. 

The cost will vary somewhat, depending on the size and nature of 
the subject and the manner in which the work is done, as it is usually 
possible to modify the color scheme to make it more or less elaborate. 


PHOTO COPYING MACHINES 


In Fig. 2015 is shown a machine for making copies of records, 
drawings, blue prints, manuscripts, flat merchandise, etc., by a simpli- 
fied method of photography, the copies being made in enlarged, 
reduced or natural size directly upon sensitized paper. A roll of 
sensitized paper is placed in the machine and this is fed into the ex- 
posing chamber as needed. The machine is automatically focused 
and the exposure is made with two mercury lamps. The resulting 
print is a “‘negative’’ on the paper, the image being in white on a 
black background, as shown in view at right in Fig. 2017. A re- 
flecting prism, combined with the lens, prevents the reversal of the 
image as in ordinary photography; thus, while the whites and blacks 
are reversed as in the ordinary negative, the subject reads correctly 
from left to right. To obtain a ‘‘positive’’ print, showing a black image 
on a white background as in view at left in Fig. 2017, it is necessary 
to make a copy of the first copy made. An exposure is necessary for 
each copy required. No dark room is necessary, as the developing 
and fixing of the print is done mechanically and the only operations 
necessary, that must be done outside the machine, are rinsing the 
prints in clean water and afterwards drying them. 

The model shown in Fig. 2015 uses paper sensitized on one side 
and will make prints up to 13x18 inches in size. That shown in Fig. 
2016 has an arrangement of mirrors to reflect the light upon opposite 
sides of paper which is sensitized on both sides. The two sides of the 


Photograph by Frank M. Hohenberger, Nashville, Indiana. 
Square halftone, 150 line, no line. Made from a photograph. 


Fig. 2025. Hand colored halftone print. 


Printed in black on 25x38—100 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., 
Hamilton, Ohio. 


at 


nae 


‘eas 


APPENDIX 793 


a 
Outline halftones, 150 line. Made from retouched photographs. 


Fig. 2015. Cameragraph simplex Fig. 2016. Cameragraph duplex. 


paper are exposed through one lens at the same time thus making 
it possible to copy two subjects at one time, one on each side of the 
paper. No prism is used on this model, as its functions are performed 
by the mirrors. This plan is advantageous when photographing pages 
of a book or document, as it not only saves time in copying but also 
saves filing space in caring for the prints. This machine will make 
prints up to 10'%x14 inches in size. Color screens are furnished for 
use in copying subjects that are in color, so that proper color values 
may be obtained in the copies. The system is not practical for making 
photographs from which to make photo-engravings, although the 
method is useful for obtaining inexpensive photographic copies of 
layouts in enlarged or reduced sizes to help in the planning and prep- 
aration of copy for engraving. The machine may be purchased out- 
right by those who have sufficient work to warrant its installation, 
and there are establishments in nearly every center where this class of 
copying is done for the general public. 


OENS-LIMITEO 


TORONTO Auguot 5, 1% 3. 


Line etching on zinc. The original letter was mounted on a drawing of the border and shadow and from this group 
a negative was made. A “reverse” negative was made of the letter and stripped into place at its right. 


Fig. 2017. Prints as made with a photo copying machine. 


794A, COMMERCIAL ENGRAVING AND PRINTING 


THE MUNSELL COLOR SYSTEM* 


The distinguishing factor of this sytsem is that it is based solely on 
equidistant color steps as judged by the trained normal eye. It divides 
all colors into two main groups: the Gray colors and the Non-Gray 
colors. 

The Gray colors include pure white, pure black and all neutral 
grays lying directly between. This scale of grays is divided into ten 
steps, equally spaced to the eye. The degree of lightness or darkness 
of Gray colors, shown on this scale of grays, is termed VALUE. 

The Non-Gray colors are also arranged in relation to their lightness 
or darkness, and therefore possess the dimension of value. The non- 
gray colors possess two further dimensions: Hue and Chroma. 

HUE is the quality of a color by which one Non-Gray color can be 
distinguished from another, as red, yellow, green, blue or purple. The 
Hue dimension is divided into ten steps, each equidistant from the next 
according to the eye. There are the five principal hues: Red, Yellow, 
Green, Blue and Purple, and the five intermediate hues: Yellow-red, 
Green-yellow, Blue-green, Purple-blue and Red-purple. For exact 
work each of these ten steps may be divided into ten subdivisions 
giving a hundred hue steps, which is ample for most needs. 

The third dimension of color is CHROMA. Chroma is the measure 
of the strength or weakness of any color, but does not refer in any way 
toits hue, or value. This dimension is also divided into ten steps, equi- 
distant to the eye, beginning at neutral gray, and running to the 
strongest colors attainable. 

These three dimensions of color—Value, Hue and Chroma, as 
classified by this system, may be visualized and remembered by learn- 
ing their relation toa COLOR TREE. 

The trunk of this tree is composed of all Gray colors, black being 
placed at the base, white at the top and the remaining value steps 
between. In creating a mental picture of this trunk it is helpful to 
remember that the trunk is Vertical, a word which begins with the 
same letter as Value. About the trunk at various levels of value there 
are branches extending at right angles, similar to the spokes of a wheel. 
These branches represent the ten hue steps, and are therefore spaced a 
tenth of a circle apart. Hue is measured horizontally in a circular 


a J y 


VALUE 


Measurement up avertical pole Measurement around a circle 


(CHROMA 
Measurement ona horizontal 
away JSrom avertical pole 


Printed from line etchings on zinc. Made from pen drawings. 


Fig. 2030. The Munsell system of color notation. 


*“Color Notation” by A. H. Munsell and ‘The Munsell Color Atlas” may be purchased at. book stores. 


APPENDIX 795 


direction. It is helpful to asso- 
ciate the word Hue with Hori- 
zontal. Branches sprouting near 
the top of the tree carry colors of 
a higher value, and those sprout- 
ing near the base of the tree carry 
colors of a lower value. Branches 
growing out in adjacent pairs 
represent neighboring hues, and 
those growing out in opposite di- 
rections represent opposite hues. 
Finally, the distance on any 
branch, measured from the cen- Line etching on zinc, made from a pen drawing. 
tral gray trunk, represents the Rig. 2031. The Munsell Color Tree. 
degree of Chroma. That is, the 

strongest colors, no matter in what hue they occur, or on what level of 
value they belong, are found near the end of the branches. It is helpful 
to remember that Central begins with the same letter as Chroma. 

This Color Tree is but the skeleton of a COLOR SOLID, for if 
every one of the thousands of discernable colors was placed in its 
proper position in respect to its value, hue and chroma, then all the 
spaces between the branches of this tree from the base to the top and 
from the center to the outside would be completely filled with color. 
Within this solid it is possible to trace innumerable paths of color 
sequences. 

Familiarization with such a color tree or solid makes possible a 
proper visualization of color relations, and the composition of beautiful 
color schemes. Such systematic choice in no wise cramps the freedom 
of the artist, but rather extends his field of work to such boundaries as 
are imposed only by his own creative abilities. 


LINOPLATE PROCESS 


This is a method of converting linotype slugs into solid printing 
plates for use on patent bases. It is used mostly for book plates made 
up of straight reading matter, with lines running full width of the page. 
However, combination plates made up of slugs and illustrations, and 
pages made up of two or more columns, can be handled by this method. 
As the matter is set on the machine the slugs are cast with special liners 
which form shoulders on each end of the slug, the tops of the shoulders 
being quad high. The slugs are then locked up, face down on a special 
lock-up galley the sides of which have grooves to engage the shoulders 
on the slugs. The grooves and end lock-up on the special galley hold 
the slugs firmly while the backs are being sawed off on a special sawing 
and back shaving machine. The slugs are left about 3/16 of an inch 
high. Grooves about 1/16 of an inch deep and about an inch apart are 
then cut lengthwise of the page on the back. Steel wires are dropped 
into and soldered in the grooves and the back of the plate is then 
shaved, and the shoulders made by the ends of the slugs are bevelled 


Pages 793 to 808, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio, 


796 COMMERCIAL ENGRAVING AND PRINTING 


for patent bases. The cost of preparing plates of straight matter by 
this method is less than that of electrotyping and if matter is to be 
kept standing it allows the release of a large part of the metal used for 
composition and less storage space is required for the plates. 


Square halftone, 150 line, no line. Made from slightly retouched photographs. The halftone negatives made from 
the two photographs were stripped together and the white line between the views was cut in the plate. 


Fig. 2032. At left view (enlarged) showing face of type form with rule-holding lugs 
and broached openings in horizontal rules (A), insertion of vertical rule (B) and lugs 
closed (C) by the Lino-Tabler system. At right view of Lino-Tabler broach. 


THE LINO-TABLER SYSTEM 


This is a method of producing vertically ruled tabular matter and 
ruled blank forms on slug casting composing machines. Special brass 
matrices, usable as a part of the regular font of matrices on the ma- 
chine, cast lugs on the top of the nonprinting part of the slugs, the lugs 
being composed in the line as though they were characters to print. As 
the lugs are arranged in columns as the form is composed, this permits 
the insertion afterwards of a special triangular brass rule, the apex of 
which is a standard foundry face for printing. The points of the lugs 
are rubbed down to hold the rule in place. The joining of vertical and 
cross rules is given an improved appearance through the use of a special 
broach with which the opening is drilled in the face of the horizontal 
rule for the insertion of the vertical. Type-high machine cast, or 
brass, rule is used in connection for horizontal lines. The system is 
not sold outright, but is leased at an annual rental to owners of type- 
setting machines. 


Sizes and Weights Sizes and Weights Sizes and Weights 

Rn aN SN ak A ie te Oe 
| Sub. | Sub. Bree Sub. Sub.’ |. Sib, 

SIZE 135 | M6 Size 13 | 16 OIL ES | i seaiene 

Ff 14 x34 16141 20% 
eet ew Doyelee te 16 ex2i 1114) 14% 14 x34 16% | 20% 
16 x21 11%| 14y% 16 x26 141%4/ 18 Sea 
16 x26 147%4| 18 16%x21%| 12 15 16." x21 11%] 14% 
1634x2114). 122] 15 17° x22 13 16 16 x26 14%4°) 18 
17 3x28 13 16 17. x26 15%] 19 16%4x21% | 12 15 
17 x26 15341 19 17 x28 16% | 20% gest ea 
17 x28 16%] 20% 17 x44 26 32 Vesa 13 16 
17 x44 26 mse 17 x56 33 41 17 x26 13%) 19 
17 x56 ne eee 1734x2234 | 14 17% 17 x28 | 16%] 20% 

Fig. 2033. Fig. 2034. Fig. 2035. 


Tabular matter as set on a slug casting machine (left), with Lino-Tabler vertical 
rules (center) and with Lino-Tabler vertical and 
horizontal rules (right), 


APPENDIX 797 


SAW AND TRIMMER 


A combination saw and trimmer is now considered an important 
part of the equipment of every modern composing room. They have 
proven a source of economy and efficiency in the treatment of type 
slugs, electrotypes, engravings 
and other printing material 
for proper setup, makeup and 
lockup, and by improvement 
in these are an aid in improy- 
ing the quality of the 
printing that follows. 
The machine shown in 
Fig. 2041 is one of the 
popular makes and with 
attachments can be used for 
sawing metal or wood, trim- 
ming to point measure, miter- 
ing, grinding, under-cutting, 
mortising, notching, beveling, 
rabbeting, routing, drilling, 
jig-sawing, broaching and 
| planing type-high, as well as 
Outline halftones, 150 line. Made a other special uses and 


“ Pesce 


from a retouchedphotograph. operations encountered in 
Fig. 2040. Miller bench composing room work. The Fig. le Maller 
Saw and trimmer. bench trimmer and saw shown 54W 4nd trimmer. 


in Fig. 2040 is designed to 
meet the requirements in smaller offices where the purchase of a larger 
machine would not be justified. 


INK FOUNTAIN DIVIDER 


This is a device for use on the standard makes of platen, cylinder 
and rotary presses and by which several colors, on certain kinds of 
work, may be printed at one impression, from one ink fountain. Also 
when it is necessary to print a 
single color on a small sheet on a 
large press, a pair of the dividers 
may be placed in the fountain to 
correspond to the position of the 
form, thus saving ink, rollers and 
wear on the fountain blade as well 
as time for adjusting the fountain 
were the entire fountain to be used. 
Its use also makes possible, in a 
great many cases, the printing of 
two separate jobs in different col- 
ors, at one and the same time by ! 
using one or two of the dividers and Printed from an electrotype made from halftone, 
running the sheet endwise with two |” orig. 20498 Dace divider an 


feeders up. Miehle fountain. 


798 COMMERCIAL ENGRAVING AND PRINTING 


THE MIEHLE VERTICAL TOB PRESS 


This is an improved automatic job press, the bed of which moves 
up and down instead of to and fro as in other presses. This feature 
allows the form to be put in position in shorter time than required for 
locking on a bed. The cylinder can be revolved to any position for 
packing or attaching the makeready and the ink fountain may be 
swung out of printing position for washing up. The feeding mechanism 
is also swung out of position when making ready. It feeds the paper 
automatically and will handle every kind of sheet within its range 
which is from tissue to cardboard. The stock table holds twelve inches 
of stock and the top of the pile is automatically maintained in correct 


FORM 


- ane 
—— ae IMPRESSION [= ££ 
’ CYLINDER 
= ees) Da = 


FORM 
ROLLERS 


DISTRIBUTING 
ROLLERS OQ 
; 


Fig. 2043 is a square halftone, 150 line, no line, made from a photograph of a retouched photograph. Fig. 2044 is a 
line etching on zinc, made from a pen drawing on which proofs from type of the lettering had been pasted. 


Fig. 2043. Miehle Vertical job press. Fig. 2044. Diagrammatic view of Miehle 
Vertical job press. 


position. The sheets are delivered printed side up on a table which 
automatically lowers as the pile of printed sheets increase. It prints 
from flat forms and they, of course, require the same makeready as for 
other presses, although the time for makeready is considerably re- 
duced as compared with platen presses, owing to the substitution of 
the cylinder for the platen. It will print sheets from 314x5% inches 
up to 12'%xI9g inches in size and at speeds from 2,000 to 3,600 im- 
pressions per hour. It is used for high-grade halftone color work as 
well as for simple type forms. 


LOW MULTIPLE UNIT NEWSPAPER PRESSES 


All newspaper press builders are now using what is known as low 
multiple unit construction for their machines, this type of press having 
superseded the decker type with units superimposed. This plan of 
building all units in a row on the floor not only affords greater con- 
venience for placing the stereotype plates on the press and caring for 


APPENDIX 799 


Outline-vignette halftone, 150 line. Made from a retouched photograph. 


Fig. 2045. Duplex multiple unit sextuple newspaper stereotype press. 


the webs while printing, but also permits the addition of other printing 
units for expansion to any size whenever requirements demand them. 
A press of this type is shown in Fig. 2045. This particular press is 
built with paper rolls overhead as shown in the illustration, or with the 
rolls at the ends or underneath the press as desired. It is built in 
quadruple, sextuple, octuple, double sextuple and double octuple 
sizes, with double folders placed at the end or placed centrally between 
the printing units as desired. It is also built with additional plate and 
impression cylinders for doing multicolor newspaper work for comic 
supplements, etc. The press illustrated, prints 2, 4, 6, 8, 10 or 12 page 
papers at the rate of 60,000 an hour from four sets of stereotype plates; 
also 14, 16, 18, 20, 22 or 24 page papers at the rate of 30,000 an hour 
from two sets of stereotype plates; also 28, 32, 36, 40, 44 or 48 page 
papers at the rate of 15,000 per hour from one set of plates. 


DITTMAN PROCESS OF MAKEREADY 


Forms set up for electrotyping usually vary more or less in height 
in different parts of the form, and the electrotypes made from them 
require more or less time for finishing the plates, or for makeready on 
the printing press, or both. By the Dittman process, the face of such 
a form is levelled before moulding. It also provides for correcting the 
unevenness in the printing face of the plates and forms, thus reducing 
makeready and finishing costs as well as improving the quality of the 
product. The form is levelled before moulding by placing a special 
treating material on the back of the form before it is inserted face down 


Line etching on zinc. Made from a pen drawing. 


Fig. 2046. Diagrammatic view of Duplex sextuple newspaper press 
showing paper travel, etc. 


800 COMMERCIAL ENGRAVING AND PRINTING 


into the hydraulic press where heat and pressure are applied. In this 
operation, the face of the form and the bottom of the treating material 
are each brought to a level, one by the upper platen and the other by 
the lower platen on the press. The material hardens as it cools and is 
allowed to remain on the back of the form while the mould is being 
made. 

The treating and finishing of electrotypes made from plates or forms 
is done in the same manner by means of a patented material placed 
underneath the rough shaved plate, to produce a level face on the plate. 
The treating material is of such a nature that it will force the low spots 
up to a level surface and at the same time is it easily displaced by the 
pressure of the high spots, which are brought down to the same level. 
Its compensating action eliminates the possibility of crushing the face 
of the plate, and its thickness while ample for leveling up the printing 
surface is not deep enough to force up the low spaces that are not to 
print, so that they will blur or smudge. 

In the sectional views, illustrated in Fig. 2048, the top platen of the 
hydraulic press is represented by A and the bottom platen by D. The 
electrotype to be treated is shown face up in contact with the top 
platen as B, and the patented treating material by C. The view at the 
left shows the plate and material before treating while that at the 
right, the even printing surface obtained by the treatment. After 
treating, the electrotype is placed face down on a shaving machine and 
shaved to an even thickness. 

The double treating press used in this process consists of two units 
as shown in Fig. 2047. One is of 200 ton capacity with a gas heated 
platen and with a range of temperature from 450 to 525 degrees Fahren- 
heit and automatically controlled. The other unit requires less 
pressure and has a water cooled platen for cooling the plates after they 
have been treated. 


Outline-vignette halftone, 150 line. Made from a retouched photograph. 


Fig. 2047. Dittman process hydraulic treating press. 


APPENDIX 801 


Line etchings on zinc. Made from pen drawings. 


Fig. 2048. Enlarged sectional views showing manner in which an even 
printing surface is obtained by the Dittman process. 


An automatic compensating underlay, is supplied in thin sheets 
that may be placed under an electrotype on the printing base, or plate 
cylinder, and will displace and take up any unevenness in the plate 
base, press bed, packing or cylinder and acts as a cushion making - 
perfect printing contact possible. 


CLAYBOURN PROCESS ELECTROTYPES 


The steps in making a plate by this process, up to the pouring of 
the backing metal, are the same as in the ordinary process of electro- 
typing. The backing is poured somewhat thicker than the finished 
product is to be, and the plate is given the first of the special treatments 
to which it is subjected in the solidifying machine, the rear and front 
of which are shown in views No. 1 and 2 in Fig. 2049. This machine is 
also used as a lead moulding press. The plate is laid face down on the 
platen with a heavy special composition rubber blanket over the back 
and it is then automatically transferred into the machine. Pressure up 
to 150 tons is applied. Through this treatment every portion of the 
printing face of the plate is brought into one common level. The plate 
is then given a preliminary shaving on the machine shown in view No. 3. 

This special flat plate shaving machine has hardened steel rollers, 
actuated by torsion springs which bear pressure on the back of the 
plate and keeps the face true and even against the platen. After the 
first shaving the plate is moved the width of the rollers and a second 
shave is made which cleans up the plate. The plate is again transferred 
to the solidifying machine for further correcting with a special cor- 
recting plate, and by exerting upwards of 400 tons of pressure against 
the back of the plate. A type of solidifying plate adaptable to the type 
of plate in hand is used. The cold metal is actually made to flow under 
pressure up into the solidifying tool and the metal is coagulated and 
condensed until it is of the consistency of close grained steel and no 
portion of the plate will recede while being printed from. 

After the plate is solidified it is given another shaving and if 
necessary it may be again returned to the solidifying machine for a 
second treatment. After the final shaving, the plate is calibrated over 
its surface on the plate gauging machine shown in view No. 5. It is 
then placed on the precision proof press shown in view No. 4, where 
the printing qualities are determined. In principle of construction, 


Printed from a lead mould electrotype made from a square halftone, 133 line, narrow gray border. Photographs of 
the machines were cut out and mounted on a white card. The numbers and border were drawn on this and the airbrush 
was used on the background. 


Fig. 2049. Claybourn electrotype equipment. 


this press follows very closely the two revolution cylinder press, 
having the same ink distribution, the same oscillating bed movement, 
the same cylinder and uses the same packing and tympan. 


AUTOMATIC BOOK TRIMMERS 


In publication plants where the volume of work to be trimmed runs 
into large editions, and the quantity is of frequent recurrence, a special 
trimmer is used, one type of which is shown in Fig. 2050. The machine 
illustrated is a continuous automatic machine with trough feed, belt 
conveyor delivery and air suction chip remover. It will handle all sizes 
up to 12”x16" in piles up to 6” high and is operated at a speed of about 
20 piles per minute. The books are jogged on the backs in the trough 
and the pile, still on its back, is slid under the automatic clamp under 
which it is held during the entire trimming, with the head against the 
head gauge which determines the amount of the trim. The a ‘tomatic 
turret which revolves away from the operator has four stations, each 
equipped with an automatic clamp, and at which it stops for a period 
of about two seconds while the pile is being placed under the clamp. 
At the time the pile is being placed at the first station in front, a knife 
is making the cut on the face of the book at the second station at the 
top, and the head and tail knives are cu tting the ends of the third pile 
at the third station while the fourth pile, completely trimmed, is being 
delivered at station four at the bottom to the continuous belt con- 
veyor. Some of the well known national magazines are trimmed on 
this machine at the rate of more than 20,000 magazines per hout 


APPENDIX 803 


Outline halftone, 150 line. Made from a retouched photograph. 


Fig. 2050. Seybold continuous automatic book trimmer. 


OFFSET PRESS PLATE MAKING MACHINES 


The greatest development in offset lithography, since the per- 
fection of the offset printing press, has been in the method of making 
the press plates for use on the press. Formerly these plates were mostly 
made by the transfer process, which is not only a slow method but 
unsatisfactory for some classes of work, especially halftones. Also, it 
is difficult to transfer color subjects, and practically impossible to 
transfer halftone process color work on account of the stretch in the 
transfer paper, which prevents correct register not only in single 
subjects but in preparing to print more than one subject at the same 
time. 

Several machines have been developed, and are now in use for 
making press plates without transferring, and which insure correct 
register for all plates regardless of the number of colors used, or the 
number of subjects being printed at one time. The printing plates 
made on these machines also produce cleaner and sharper results. One 
of these machines is shown in Fig. 2051 and on which may be made a 
press plate as large as 50x65 inches from negatives as large as 20x24 
inches. Plates are made on this machine in the following manner: 
A negative is made on glass, or film, of the drawing, photograph or 
other copy that is to be etched on the press plate and in the size that it 
is to be printed. The negatives are made as for photo-engraving— 
line negatives from line copy, screen negatives from photographs, 
wash drawings and other continuous tone copy, and color separation 
negatives from copy in color. Line or grain screens may be used and 


eee 793 to 808, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 
Coated Paper Co., Hamilton, Ohio. 


804 ~ COMMERCIAL ENGRAVING AND PRINTING 


work is being produced with screen as fine as 400 lines. The negatives 
are not stripped to reverse the subject: as for photo-engravings, as 
being printed by “‘offset’’ they will appear correctly in the final print. 

A layout sheet of the same size as the sheet to be printed is made 
up, and on this the exact position is predetermined for each subject to 
be printed. The negatives are placed in the machine, one at a time, 
and by the aid of a transparent registering device are placed and 
locked in proper postion where they remain stationery while the print 
or prints are being made. 

The metal press plate is a little larger than the sheet of stock to 
be printed and is coated with a sensitized solution on a whirler in a 
manner similar to the method followed in coating metal plates on which 
photo-engravings are etched. The sensitized plate is attached to the 
metal holding board and turned face down in the holder on the machine. 
By a system of moving devices, the sensitized plate is moved so that 
the part of the plate that is to receive the print as indicated by the 
layout sheet, is directly over the negative. The plate is lowered to 
the negative and brought in firm and even contact with the film side of 
it with the aid of a thick rubber blanket between the plate and the 
holding board and the pressure arm above the board. The arc lamps 
under the machine are switched en and that the heat from them will not 
affect the plate, the light is reflected by a mirror through the negative 
to the sensitized plate. As only the part of the metal plate under the 
transparent units of the negative has been exposed, the remainder of 
the plate having been protected from exposure to light, the plate is 
moved to the next predetermined position and another exposure made 
from the same negative, if the subject is to be duplicated, or from a 
different one if a change in subject, and so on until the plate is filled. 

In making plates for color printing, the readings on the indicators 
as shown for the plate made for printing the first color, are copied and 
followed in preparing plates for the subsequent colors to insure perfect 
register. 

In preparing the plates for process color work, color separation 
negatives are made in the usual way. When necessary the negatives 
are reduced in tone by tinting with transparent dyes. Wet plate 
continuous tone positives on slightly grained white procelain, or ground 
glass, are then made from the negatives and usually larger than the 
final plates are to be. These positives are further corrected by hand 
work or with the air-brush and from these corrected positives the screen 
negatives are made to be used on the machine in the actual plate 
making. All negatives used on the machines are opaqued or blocked 
out so that only the subject that is to print, will remain transparent in 
the negative. The edges of vignetted halftones are softened in preparing 
the copy, as they cannot receive this treatment by etching as in making 
halftones for letterpress printing. As it is possible to compose a plate 
made up of subjects in line, screen or grain, combinations of these may 
be had by stripping or double printing and other methods as in photo- 
engraving. 

If type matter is to be used it is set up and made up as for letter- 
press printing. Good, clean press proofs are made from the forms and 
from these proofs the negatives are made for use on the machine. 


APPENDIX 805 


Outline-vignette halftone, 150 line. Made from a retouched photograph. 
Fig. 2051. Multiple offset plate making machine. 


Proofs from engraved stones and plates are handled in the same 
manner. 

After the required prints have been made on the sensitized metal 
plate, they are developed and treated to convert them into an ink- 
taking base and the remaining surface of the plate to repel ink, when 
it is ready for the press. 

The machine also has an attachment whereby unit dry plate 
negatives can be made on it. By duplicating the subject on the dry 
plate so that several prints of it may be made at each exposure when 
making the press plate, the number of exposures for the press plate is 
greatly decreased where a large number of duplicates are to be placed on 
one plate, as is often required. 


OFFSET GRAVURE 


This is a litho-gravure-offset printing method, working under Grass 
etching patents. The photographic negative is made identical with 
that used in rotary photogravure. The positive is made with a halftone 
screen into high light tone values. A grained zinc plate is coated with 
fish glue colloid and this colloid is exposed to light under a positive 
transparency. After the exposure the unhardened colloid is washed 
away. The design is dyed to render the exposed part visible. When 
the plate is dried, it is etched about one or two minutes in iron chloride 
standing at about 42 Beaume, to lower the design in cavities. The 
plate is dried and filled with a lithographic ink-attracting medium, 
after which the colloid is removed. The high grained surface is treated 
to repel lithographic ink. Briefly, the process is photographed in 
halftone, is etched like a gravure, is treated lithographically and is 
printed by offset. 


806 COMMERCIAL ENGRAVING AND PRINTING 


MULTIGRAVURE PRINTING 


There are now in operation presses printing from a roll of paper 
up to four colors in intaglio on both sides of the sheet. These presses 
have a speed of up to 5,000 cylinder revolutions an hour and the 
product is delivered folded or in flat sheets, without the necessity of 
using slip sheets. 

BLOCK PRINTING 


This might be termed a simplified form of wood engraving, and is 
practiced principally by art students and artists who have especially 
developed their skill in this class of work. The blocks, which are 
printed by letterpress in the same manner as type, line etchings, wood 
engravings, etc., are cut on soft wood, linoleum, leather or other 
material. If the material on which the design is to be cut is less than 
type high, it is glued or otherwise mounted on a block, to obtain proper 
height for use on the ordinary printing press, before cutting the design. 
Most of the designs made by this method are in silhouette or poster 
effect, and if printed in more than one color, flat colors are usually used. 
The results obtained depend upon the artistic ability and the skill 
of the one who engraves the block and prints it. The method is seldom 
used in commercial printing, although flat tint plates that are simple in 
outline are sometimes made and printed in this manner. 

Usually, if the print is to be made in colors, a drawing is first made 
of the design in colors. From this drawing a tracing is made, outlining 
the parts or sections, and this tracing is reversed and transferred to the 
blocks to be engraved. The design on the blocks is outlined with a tool 
and the surface that is not to print is cut away with a knife or tool 
leaving the design that is to print, in relief. A separate block is re- 
quired for each color and if all are made from the same tracing, the 
different sections when printed in their respective colors will fit together 
properly without overlapping in the finished design. If the design is to 
print in only one color it is drawn or sketched in reverse on the block 
to be cut. Some of the steps in making wood engravings and line color 
plates as described elsewhere are applicable to this method. 


METERED MAIL 


There is now available a system whereby mail of all classes, under 
certain rules and conditions imposed by the Post Office Department, 
may be stamped, cancelled and postmarked in the mailer’s office. A 
printing and recording device known as a postage meter is required and 
its imprint is a combination of postage stamp, cancellation and post- 
mark, printed directly on the mail matter. A reproduction (reduced in 
size) of one of the imprints is shown in Fig. 2052. Separate meters are 
required for different denominations of postage and each meter prints 
an impression corresponding in color to the denomination of the 
regular adhesive postage stamp it substitutes. One type of meter is 
shown in Fig. 2053 and the same meter in place on the mailing machine 
on which it must be used is shown in Fig. 2054. 

The meters are taken to the Post Office and set for a designated 
number of impressions corresponding with the amount of postage 
paid in advance. Each meter has two registers both visible through 


APPENDIX 807 


Fig. 2052 


c= 


Fig. 2052 is a line etching on zinc. Figs. 2053 and 2054 are outline halftones, 150 line, made from retouched 
photographs. A : 
Fig. 2053. Fig. 2054. 
The Pitney-Bowes postage meter and mailer. 


small glass windows, the upper register indicating the total postage 
used and the lower indicating the stamped impressions paid for and 
unused. The meter can be set for 100,000 imprints. The door of the 
meter is locked and sealed at the Post Office after each setting and all 
keys are retained by the Postmaster. When the lower register entirely 
discharges, the printing head automatically locks and will not function 
until the meter has been reset for additional postage. It is not nec- 
essary to wait for the meter to be entirely discharged before resetting. 

The use of this device expedites the dispatch of mail matter, saves 
time and expense, permits better accounting and safeguards the stamp 
account. The meters are not sold outright, but are rented by the 
manufacturer for use under special rules and regulations issued by the 
Post Office Department. Application for their use must be made 
through the local Postmaster. 


THE MANUL PROCESS 


The principal use of this process is in the reproduction of type 
pages or other copy, for re-print in the original size, in connection 
with plate making for offset printing, or stone lithography. It does 
not require photographic apparatus, and for reproducing certain kinds 
of copy, many of the steps usual in the preparation of offset printing 
plates, or stones, are eliminated. A glass plate is coated with a special 
emulsion and dried. This plate is then placed upon the original which 
is to be re-printed, with the sensitized side in contact, and exposed 
in a printing frame to artificial light. The light falls through the 
glass plate from the back. The plate is then developed in water, the 
film side reinforced and dyed. When dry the film is stripped off the 
glass, resulting in a transparent paper negative. This film is then 
used in making the printing plate or stone, 


LEADING TRADE and CLASS PUBLICATIONS 


AMERICAN PHOTOGRAPHY, repre- 
senting all that its name implies, has the 
largest circulation and widest influence of 
any American photographic periodical. 


American Photographic Publishing Co., 428 
Newbury St., Boston, Mass. 


THE INLAND PRINTER—The leading 
technical journal in the world for the print- 
ing and allied industries. Monthly. Price, 
$4.00 a year in United States; $4.50 in Can- 
ada; $5.00 foreign. The Inland Printer Cox 
632 Sherman St., Chicago, Ill. 


CAMERA CRAFT. Claus Spreckels 
Bldg., San Francisco, Cal., is\-a monthly 
magazine covering the photographic field. 
It satisfies largest and smallest advertiser 
and photographer. Beautifully illustrated, 
interesting, instructive. Member A. B. C. 


AMERICAN ART STUDENT AND 
COMMERCIAL ARTIST—Reaches art 
schools, illustrators, students, engravers and 
designers. $2.50 yearly; 25c copy. Circula- 
tion 11,000 monthly. 21 Park Row, New 
York City. 


PRINTING—The Weekly News, Busi- 
ness and Service Journal of the Printing 
and Allied Industries. At $3.00 per year 
including THE PAPER RECORD we know 
of few better buys. 41 Park Row, New 
York: s Nee ve 


THE PRINTING ART—Monthly maga- 
zine, meeting place of printer, adv. man and 
manufacturer. Printed Salesmanship taught, 
advs. criticized by Robert Ruxton; house 
organs analyzed by Clifford Sloan. $4 a 
year; $4.50 in Canada. Cambridge, Mass. 


COMMERCIAL ART—Only magazine 
completely devoted to art as a selling force. 
Color reproductions of best British posters. 
An inspiring monthly for advertising men, 
printers, etc. $5 a year. Sample copy 45c. 
A. Broun, 44 Fifth Avenue, New York City. 


THE AMERICAN MAGAZINE OF ART 
—Mthly. Non-technical, readable, well illus- 
trated. Deals with Architecture, Civic and 
Industrial Art, Painting, Sculpture, etc. $3 
year. The American Federation of Arts, 
1741 New York Ave., Washington, D. C. 


THE PRINTING CRAFTSMAN—A 
monthly Journal of News, Equipment and 
Product in Prtg. and Allied Indus. A busi- 
ness jour. for excts.; practical articles and 
valuable depts. $2 per yr. $2.50 in Can. 
Fielding Pub. Co., 167 Oliver St., Boston. 


THE NATIONAL LITHOGRAPHER— 
The only lithographic trade paper published 
in America. Makes a specialty of articles 
on the Offset Process. Published monthly 
at 150 Nassau St., New York. Price $3 per 
year; foreign $4. Warren C. Browne, Editor. 


CARTOONS MAGAZINE—15,000 copies 
monthly to cartoonists, strip-comic men and 
general public. Humor, comics, poetry and 
international cartoons. $2.00 yearly; 20 
cents per copy. 13 Park Row, New York 
City. 


WALDEN’S STATIONER—Publd. for 
33 yrs. under same management. Special 
Engraving and Greeting Card section. Sub- 
scription $2 per year, including a copy of 
Walden’s Red Book. Walden’s Sons & 
Mott, Inc., 41 Park Row, New York, N. Y. 


THE ENGRAVERS BULLETIN—Of- 
ficial organ of Engravographia, the national 
association of the steel and copper plate en- 
graving industry. $2 a year. Theodore A. 
Isert, Publisher, 250 West Fifty-seventh 
Street, New York. 


THE PHOTO ENGRAVERS BULLE- 
TIN—Official Journal of the American 
Photo-Engravers Association. $3.00 per 
year. Louis Flader, Editor and Business 
Manager, 862-3 Monadnock Block, Chi- 
cago. 


ADVERTISING FORTNIGHTLY—De- 
voted to Markets, Merchandising, Media 
and the advancement of advertising. Pub- 
lished every other week. U. S. $2 per year, 
Canada $2.50, foreign $3. Advertising Fort- 
nightly, 52 Vanderbilt Ave., New York City. 


ADVERTISING & SELLING—5941 Gr. 
Cent. Term., New York. Founded 1891. The 
Nat. Jour. of the Adv. Indus. Practical sales 
and advertising ideas for every-day problems. 
Mthly. Closing 25th of mo. gai can Type 
page 844x11%. Member A.B.P. and A.B.C. 


THE PAPER INDUSTRY—America’s 
only monthly or Educational Journal for 
the Paper Maker and Paper User. Invalu- 
able to every one who wants to know more 
about paper. $2.00 per annum. 356 Monad- 
nock Block, Chicago, IIl. 


NEWPAPERMEN AND NATIONAL 
ADVERTISERS subscribe to the National 
Weekly that exploits Value of Newspapers 
as National Advertisers’ Medium of First 
Importance. $4.00 per year. The Fourth 
Estate, 232 West 59th St., New York. 


THE PAPER TRADE JOURNAL—Est. 
1872, wkly., $4 a yr. Lockwood Trade Jour- 
nal Co., Inc., 10 E. 39th St., New York. Also 
publishes Lockwood’s Direc. of Paper, Sta- 
tionery and Allied Trades, Amer. Stationer, 
Office Outfitter. Chicago, 431 S. Dearborn. 


THE MAILBAG—Monthly. Louis Bal- 
sam, Editor. A Journal of Direct-Mail Ad- 
vertising. Tells how others have used Let- 
ters, Booklets, Blotters, Folders, Catalogues, 
Broadsides, etc. $1 a year. The Mailbag 
Publishing Co., Caxton Bldg., Cleveland, O. 


THE AMERICAN PRINTER—Techni- 
cal, business news. Published twice a month. 
Price, $4.00 in United States; $4.50, Can- 
ada, $5.00, foreign. Oswald Publishing 
Company, 243 West Thirty-ninth Street, 
New York City. 


THE POSTER—Monthly, 307 S. Green 
St., Chicago, Ill. The Nat. Jour. of Poster 
Adv. and Poster Art. Known internationally 
as the authority on poster adv. and poster 
art. Fully and beautifully illustrated. United 
States $3 yearly, Canada and foreign $3.50. 


THE. BRITISH» PRINT ER=—The™ Na; 
tional Journal of the British Printing 
Trades. Published bi-monthly. $2.75 per 
year. Sample copy, 50 cents, post free. 
ae House, 231 Strand, London, W. 
peas 


808 


WESTERN ADVERTISING—Monthly. 
Covers information and news of interest to 
prtrs., publrs., engrvs., advtsg. men, advtsg. 
salesmen, etc. $2 year; $3 east of Miss. 
River and foreign. Ramsey Oppenheim, 
Publisher, 564 Market St., San Francisco. 


Page 
Adaptation of Halftone Screens to 
Different Papers. . 
Adding a Subject toa Photograph oa 
OUD niin ee Fe eae { 
Adding to Background in Drawings 87 
Addressing Mail Matter....... 737, 750 
Adjustable Dies for Cutting Envel- 


Oe SS 618 
Adjustable Patent Iron Blocks..... 395 
Advantages of Lithography....... 484 
Advantages of Offset Printing Over 

DROME MNLUOGTADNY.... 0... 2.5.5. O12 
Advantages of Rotary Photogravure 566 
Advertisement Layouts........ 140-143 
Piawenmisitig Wesions.............. 139 
Advertising Mailing Cards........ 168 
Advertising Specialist, Services of.. 400 
Aeroplane Mail Service........... 760 


oN S15) Clue 4h sy Si a rn 61 
Alterations in 


Copy for Photo-Engravings. .108, 328 
Halftone and Line Etchings..... 337 
[oe Sele a 75, 76 
WN gee TAWINE Ss fot ws 120 
ON TERT We) 3a0/ 5. 362 
are enoterrapls..........:. 9 
Pipactiomatvenss, 26. orc. . es... 14 
Anchoring Plates to Wood Blocks.. 388 
Angle of Halftone Screen Lines... . 251 
Angle of View of Lenses........... 16 
Amiline Prints on Metal........... 320 


Annealing Steel Dies and Plates.... 552 
Anniversary Announcements...... 
Announcement Forms 


Setar 537, 538, 540, 544, 545, 546. 


mAmnewmueanish Papers. .... 2... 0... 650 
EXMPOCOOIIIC ONS. ee es 294 
peouane tora batent.... 1... ..5.. 12D 
Appropriations for Illustrations.... 341 


Arrangement of Data for Printing a 
poke: 0. 28 a i a 
Arranging Groups of Small ee 


for Photographing. . ere 28 
Pig teteipeCializen or. 108, 134 
Artist’s Time for Retouching. ..... 109 
NTO OT Ee ce 207 
PEE NOOM ACCESSORIES... )..%. oT 
Assembling Composed Type....... 441 
os Ge VOR (a rr 538 


Automatic Printing Press Feeders. . 

Automatic Stereotype Plate-Making 
AUIS GM Ve 2. 5 ne io aa ae 367 

Avoiding Reflection on Polished 
Objects When Photographing.... 22 


Page 

Backgrounds for 
Advertising Designs............ 148 
(GLOUDG i etc ey one aera ae ties 29 
Pettering ee eins end: se ee 147 
Vi cehatical Subiectsaug sy see ame 
OLLI Sw ae ate thee eee he 33 
BackingsBooks & page tre, oes es 704 
Backing Electrotype Shells........ 352 
Backing Up for Patent Bases...... 390 
Dae) VW OOUS ams seni: aalla vie gone 084 
Sichd Steleal RJ dttest le eee eey eh ae ae 627 
Beaters. tor | ype Forms. 50 a0 040 
Beaters for Paper-Pulpy-o5.... 42.5 635 
Ben Day Shading Machine........ 67 
Dem win iles iter sw wir, yo ao. ees 603 
Beveling Halttone Plates<). 0... 260 
Bible Pa nerre nasa eee bea 651 
Billboard and Poster Sizes........ 612 
Dilderseotaniose 0 te arene oa 601 
DITdsevie :V 16WS ay ae on 150 
Birth Announcements... ae. 5... 540 


Blacks backeroundsmsa. heen tee 206 


Blank Metal on Photo- ne evince 345 
Bleach Boilers for Cooking Rags... 633 
Bleeding Ota. a. teen ace eer ane 313 
Blocking Out Negatives. ue 36 
Blockines Wo0ds = tise ee ae . 384 
Blocks rintinvw:. te el eee 806 
Blocks Trimmed Flush........... 385 
Blotter Desions 2...5ee coe Se ee 149 
Blotting, Papers mene 5.2 eres 659 
Blues Printsy woce ee 45°01 7 127 ol 28 
Board Covets.235 oh eer een. 705 
DoareiMachiney yo ase eee 643 
Boilers Rags. 2 ek. cde aeons 633 
Bond aPapers:,; (ras ee ee 655 
BOOK BINDING <p egrds des Bee eae OO 
Book Covers). Sedu. otcss ae eee 705 
Booklet and Book Sizes........ 401-691 
Booklet and Catalog, Mail Classifi- 
CATION Cobra ee oe 746 
Booklets, Manner of Binding. ..... 405 
Book Plate. Mesions: se tee ae 149 
ool.Plates-e: = iter ea ee ne eee 546 
Books, V iews-Olmes se eee 157 
Border, Destensic co sss 6s. apenas 150 
Border Treatments for Small Adver- 
tESCINE TIES 20s tae eee hy Pyare ce 139 
Boxing, Envelopesmestce.. se 619 
Box Printing, Scoring and Cutting 
Pressed ccc: vets ee 9 eee 477, 478 
Brass Embossing Dies.......... . 594 
brass Rule, -Monts oo. cceean ones 450 
Bristol Boardsae t-36 ok! bene 658 


S10 


Page 
Broadsides, tak. ce .. 7 eee 168 
Bromide Enlargements........... 46 
Bronzing ico a ee ea ee 1 
Buckram for Book Covers......... 706 
Building, Hlectratype: a0. eee 349 
Buildings and Birdseye Views..... 150 
Bullkglest for Paners.\. sen eeee 664. 
Bundling Printed Signatures....... 694 
Burnishing and Tooling Halftones.. 263 
Business Cardstes- oe =e 542 
Calendars agi; 275 webiste eee 159 
Calendering Paper. 5t eee 642 
COAINCL 3S. teocat t haat Oe pene 10,16, 219 
Canvas for Book Covers.......... 706 
Carbon! Papers: = 40 ene 661 
Cardboard a0 ace. ae ee 658 
Cardboard Sion Sizesay at es. eee 614 
Card Index Filing System......... 779 
Gard: Ruling Machines. (0... ae 683 
Gards,. Visiting (3.2082) <a eee 539 


CARE AND FILING OF PLATES AND 


WORT 4c Goier ae Se ea i ee Tae 
Care-of Wash Drawings........... 120 
Caricatures and Freak Pictures. ... 107 
Cartoon) Drawitor:) (yaa oe 125 
Case; Llectrotyne sa4) a ae ee 347 
Gases tors Books’ ive eey ee ee 712 
Cases for Typeticukn is eee 427 
Casing in. Books, Slee eee 714 


Caskets, Photographing «4.2 2a 


Cast Iron Patent Base Blocks... .. 393 
Casting Stereotypes. see eee 366 
Catalog and Booklet, Mail Classifi- 
CALIONL.S cra. ease ee ee ee 746 
Cataleg Envelopes: 3, 619 
Catalog Sizeso. an we ae 401 
Catalogs, Manner of Binding...... 405 
Ceroty pes 0... s.a0s a eee 381 
Chalking Halftones;.... s2e0 = meee 260 
CHALK. PLATES? aca eee ee 382 


Chalk Relief Process of Makeready 
for Printing) ea. ae eee 
Changes in Photo-Engraving Copy, 
Indicating on Tissue Overlay... . 
Changing Proportions: =. cee 
Characteristic Styles of Lettering... 166 


459 


Characters for Indicating Size... . . d3l 
Chase-for?T ype 5. ee ae 449 
Chemical Process of Preparation of 
Wood for Papers 2, a ee 628 
Chipping Machinemy ate eeereen 629 
Circulars, Manner of Folding...... 405 


Classification of Domestic Mail 


Matters® 808" Somer eueeeaee 739 
Classification of Plates and Copy for 

Piling: tuts ge pee ee ee 783 
Claybourn Non - Stretch Curved 

Plate Processinn cet eee 357 
Claybourn Process of Makeready 

tor Printing: oe eee 461, 801 


Cleaning Rags for Making Paper... 631 
Cleanliness Test for Paper........ 


INDEX 


Page 
Cloth Covers, -.233500 ee 706 
Coated Boards:, 3335.22 658 


ING... s,s 0 23 
Coating Paper. . #32... 644 
G.0. D. Mail: 2a 754 
Cold Embossing 3.) 2 o91 
Collating Printed Signatures....... 694 
Color... -..0 ee 575 
Color Combinaticns a. = eae 577-584 
Color Filters;. 7). eee 40, 279 
Color Lithography. 7 500 
Color Photography: 3) eee 42 
Color Plates, Halftone; af.cmeee 276 
Color Printing and Embossing, Steel 

Die... . cng Skee 5057 


Color Printing, Photogravure Process 564 
Color Scheme for Line Color Plates. 232 


Color Scheme on Tissue Fly....... 334 
Color Sketches.c3.52 Jee 334 
Color Sketches for Halftone Color 
Plates... 2) Dat is 
Color Test for,Papers) eee 662 
Column Widths.?. #35 332 
Combination Effects in Plates. .... 322 
Combination Finishes on Halftones. 261 


Combination ‘‘Freak’’ Photographs 92 
Combination of Type Matter with 


Drawings: ¢)..> ne eee 129 
COMBINATION PLATES............ 301 
Combination Sheet of Envelope 

Blanks and Letterheads......... 622 
Combination Wash and Line Draw- 

INS... 0 ee 119 
Combining Different Kinds of Plates 

on One: Baseg 4 ee 391 
Combining Line and Halftone Nega- 

IVES. yw ys ee 303 
Combining Originals and Electro- 

types... 4 20) aan 309 
Combining Photographs and Draw- 

Ings... o. . 5s. 87 
Commercial Envelope Sizes... ..... 618 
COMMERCIAL PHOTOGRAPHY....... 9 
Companion Halftonesy) 25s 275 
Comparative Charts. 22.55) 168 
Comparative Sizes of Types....... 429 
Comparative Weights of Papers.... 670 
Comparison of Photographs of 

Furniture.) 9) aoe 20 
Comparison of Printing Qualities of 

Papers... +. 4) fase 672 
Comparison of Wash Drawings and 

Photographs... ic.) Sea 111 
Compiling a Mailing List......... 735 
Complaints and Inquiries Regarding 

Mail Matters, 85.0 776 
Composing Room Operations...... 426 
Composing Sticks.92 ssa 439 
Copper Etchings) 32 229 
Copper Halftones 2) 20 ane 246 
COPPER PLATE ENGRAVING AND 

PRINTING. «..<45 er 525 


INDEX 


Page 
Copy (Engraver’s) Filing......... 787 
Copy for 
IE ME OOS St iy en 267 
Melitone Color-Plates:........, 276 
Minewercainees a 6k. et. 217 
MEDD 20 683 
PumeleOIawinegs.... 0... 6... . 118 
PeexeeMeravings,:...20/........ 376 
RVood -Engravings......3....... 3v1 
PCPersGiitc ht se beck... eee. 728 
moredavietal:Bases.....2......... 391 
Correcting 
Distortion in Photographs....... 47 
Embossing Dies............... 599 
Engraved Copper Plates........ 528 


Halftone and Line Etching Plates 337 


Wood Engravings’............ 374 
Cost of 
Combination Plates. ........... 323 
Copper Plate Engraving........ 534 
VOGT Golo ie a 363 
Csulsie ota) 0) 600 
Halitene Color Plates. .....«.... 300 
Wine Color Plates! 2... .2.. 0 .. 241 
Proto-Ungraving..02.1..0...... 339 
De, a 52 
ee 481 
PSGUDUGHING ok oe. ee ea i08 
Steel Die Engraving and Emboss- 
cum ess oe OL ek 558 
MROMIOPAWINGSS.....0...<..... 120 
WVue NeTAVINGS.. 0.5... kk. 381 
NVOOCMENGTAVINGS...c4..4.....\... a15 
Meunier Dies... 0. ......552, 594 
Ovemorsiyncie st. se... os... 159 
Covering Power of Lens.......... iW 
Cover Materials for Books. ....... vis 
PeGeteaietsr a. ace eae 653-705 
Cownime Binding................ 707 
Crasn Finish on Papers........... 649 
Crayon Drawings......... 124, 125, 136 
2G Te Eisen 135 
Creasing the Joint on Books...... 714 
Prmming onects!.... coc... 674 
Curved Electrotypes............. 356 
OOS ES Cr 775 
Customs of Photo-Engravers...... 324 
SOUS = Se Ge 605 
Cut-out Method of Printing Make- 
Dre NCEE ys oa ens es. 458 
Cut-out Photographs, Patching and 
Ieee es ee 89, 95 
Cutting Raper............407, 642, 686 
Pe OAV SL See cn 632 
Cylinder Paper Making Machine.. 644 
Gylinder Printing Press..-.. 2.2... . 455 
Cylinder, Rotary Photogravure.... 568 


Daguerreotype, Reproduction of... 135 
Damaged Mail Matter............ 770 


Coated Paper Co., Hamilton, Ohio. 


Page 
DancceLiVisations amen ae ee, 541 
Dandy Roll on Paper Making 
Machinetaie see coun wee ee 640 
Day (Ben) Shading Machine...... 67 
Dead Metal on Engravings........ 345 
Death Announcements........... 545 
DeckelsHdge on Paperss 2 402 4. 649, 697 


Decorative Backgrounds for Groups 28 
IDeU D, ECchinate: aon dee pee eee 305 
Definition in Photographs......... eZ 
Definitions under the Patent Laws.. 727 
Depositing Shell on Electrotypes 351,361 


Depth of Etching for Halftones.... 250 
Depth osMocus sea. nee eee iby 
Decren VaAtcite ye yee. nee ae 6 
Desionsdor blotters (+. «set. see. ee 149 
MetarliViewein nots io ee ee 210 


1d Der are ee wee ee, Se 38 
Developing Photographic Plates... 34 
Dies for Cutting Envelopes........ 618 
Dice? Stecl aay 7 ote Ot tea hee FAS 


Dutised Photographs -.2e 5. 6 206 
Digesters for Cooking Wood Pulp.. 630 
Direct from Subject Color Plates 277, 281 


Direct Halftone Process........... 275 
Direction of Grain in Papers...... 666 
Direct; Rotary. Printing 7eee sass es 511 
Dise:Rilinge Machines <7 shaeees 682 
DisplaysMatters geen en, fc 426 
Distortion in Photographs......7=> 47 
Distribution of Type and Printing 
Wiaterial Apa ew a Sa eben 451 
Dittman Rrocess:te ten oe ee 799 
Double Printing on Metal for Photo- 
PBaigravirigene te ekee oan 307 
Doubletone: | nice. ee eee 575 
Drawing 
For Line: Color: Platess eae en nt e4 
Forshading Machines; eae 66 
From Blue: Print: Copy yes. ee LG 
Made -with#Air- Brushy 2 ae 62 
On: Photographic se ee 89 
Pencil Sota eee ie 2 ie, eee 138 
Water Golor um rte sn face 138 
DrawnG_etteriic ant eee 169 


Drying Drums on Paper Machine... 641 
DuckiorsBook:€overes ssn a ee 
Dull Enamel Coated Book Paper.. 652 
Dull Finish Photographic Prints... 38 


Dummy for Booklet or Catalog.... 413 
Dunimies and: Lavontcn eos ee 335 
Duodectng Size. an eee 691 
Duogranh) shee: aoe ee ee 279 
Duoty pe, [hem ee ee ee 20 

Duplicate Original Plates......... 342 
DUPLICATE” PUATES eae) ieee 42 
Duster Racca to ee eee 632 
Duties Customs? 0. ene ee 775 


Pages 809 to 824, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 


812 


Editions bookbinding «se. ae ee 
Effects Obtained in Reproductions 
of Different Sizes from the Same 
Dea wing ka eee ek eae 115,131 


Peo ohell Panera.) ae een 650 
Electric Embossing Blank.........-598 
Blectricity in Papers. see ae 670 
Electrotype Blocks, Cast Iron. .... 395 
Electrotypesaed, ate a oe ee 342 
Electrotypes made from  Electro- 

ty PCS. Ree Paes Gee 360 


Electrotyping Halftone Color Plates 299 
Electrotyping Trade Customs..... 363 


Electrotyping Type Forms........ 450 
Elliipsooriphs 7 ae ee eee 61 
EMBOSSING, STAMPING AND CUTTING 

LD TES enor ds rll ty Ae ee oO 
Embossing with Steel Dies........ 554 


Enameled Coated Book Paper, Dull 652 
Enameled Coated Book Paper, Gloss 651 


Enamel. Coating- Paper. se5. see e 644 
Pind SNeetats aor eee + are eee 698 
End Wood Eneraving ace el | 
Engine Sizing Panersia kon eae 647 
Engravers Préotsfe anes Sie 385 
Engraving 
Copper Plates Wii a4. tence ee 526 
For OffsetsPeinting <2 ee ne aeeeas 509 
On Stone, Lithographic = 23 485 
Poster Acad oh ice Ree ee meee 614 
Steel. Dies. “47s ee ee 550 
Wood Soe. iP is ee eer 369 
Engraving: Machine: . 2). 7. ste. ee 529 
Engrossing #25. oat. - a eee 161 
Enlarged Prints from Small Nega- 
tives dN nee erie ea eee ae 46 
Enlarged Sections of Halftone Pro- 
cess Color Platesins-.0 tse ee 284 
Enlarging: Negatives... 9. ae 47 
Enlarging Photographs.......... 46, 50 
Envelope and Card Printing Press.. 467 
linvelope-Desions2=) 37) as ae 161 
ENVELOPES 400. i yeh nae te 617 
Envelopes for Filing Engraver’s 
Copyits.02 ase nae ee 784 
Estimates on Photo-Engraving.... 341 
Estimating Amount of Paper Re- 
quired fora Jobwee aan es 406-408 
Estimating Postage on Mail... .406, 737 
Etching 
Att: Subjectsaeessyance eee 54 
Halitone Plates Aiea ee 257 
Dine Etching 2 Sache tees ee 
Negatives.) fence eee 36 
Plates for Offset Printing....... 498 
Process Color Plates? ey eee 294 


Rotary Photogravure Cylinders.. 569 
Transfers, Lithosraphicst ee 
Etching Machines... 22) 3. 2s 
Etching “Fub. ag eee eee W23 
Examination of Mail Matter...... 
Exposures in Making a Halftone 
Negatives?. ir naan ae ee 254 


INDEX 


Page 

Exposures, More Than One on a 
Plate... .. ae 30 
Extended Covers. .24) ae 698 
Exterior Views, Photographs of.... 31 


Extra Colors with Halftone Process 


Color Plates... 45.8225 ae 281 
Eyeletting: ..<4,. 2 678 
Fabric Finish on Paperseusew eee G 
Fac-Simile Reproductions... ... 163, 754 
Factory Skylights eee 10 
Fake Coler Work) 7.233. eee 281 
Faking-in and Patching Photo- 

graphs. v. 3... 256 gee 92 
Family of Type: a ee 428 
Female Die, 24505 2 592 
File Proofs, Engraveres see 335 
Filters; Color: (2) 72 eee 279 
Fine Line Copy2c 0) eee 326 
Finishing Books, cd, een ee 15 
Finishing Electrotypes.. eee 355 
Finishing Plates: ) ae 225, 259, 261 
Finish Test fon Paper) eae 662 
First Class Mail Mattern: sana 742 
Flashlight Paotographs, | jee) ee 31 
Flat Colors and Tints in Comparison 

with Black. 2:52 eee 315 
Flat Colors Superimposed......... 239 
Flat Etched ‘Halitene die =e 258 
Flat Line Color’ Plates: 3) ee 240 
Flat Proofs, Engtaver o=.e =e 336 


Flat Proofs of Halftone Color Plates 294 


Flat. Tone Halftoness49 aaa 318 
Flat. Writing Paper: 7393 ee 654 
Fleshers for Bookbinding.......... 707 
Flexible Book:Geyers.y.. 3 eee 705 
Floors and Backgrounds in Photo- 
graphs... oh cs ae 25 
Flush Covers {5.2 22) ee 698 
Focal Length-of Lenses, ane 16 
Focal Plane.) 17 
Folders for Mailing) )..eeaeee 168 
Folders, Manner of Folding....... 405 
Folding Printed Sheetsama mee seas 688 
Folding Qualities Test for Papers. . 666 


Follow-up System for Loaned Copy 


or Plates... .<./.25 0%. 788 
Foreign Mail Matter....../2.2.9. 774 
Format Sizes. (i249 ee 403 
Form of Type). cas.eeen 442 
Form Made Up on Patent Bases... 394 


Forms and Customs for Copper 


Plate Engraving )) 52s 535 
Forwarding, Bookbinding......... 703 
Forwarding of Man) jan. eee 769 
Four Color Line Platesa a eee 235 
Four Color Process Halftones...... 280 
Fourdrinier Paper Making Machine 637 
Fourth Glass'Mail Matter seen 744 
Framed Copy for Engravings, Hand- 

ling of | ..00. 49 ee 309 
Freak Combination Photographs 92, 107 
Frisket in Air Brush Work oy sae 62 


INDEX 


Page 

Furniture, Preparation for Photo- 
CU as 19,20; 21 
Furniture, VWood................. 442 
Pele ion Uy penis ess. fine ca. 441 
CONAN COS a) an 442 
Ceuleveotorage Stand............. 443 

Gas Burner to Overcome Slip- 
LSS Si 464 
Gathering Printed Signatures... .. . 694 


ONONUL GEL he Se) he le 324 
ae IOWS AS. on ec ec 210 
Glassware Drawings.............. ibs 
Glassware, Preparation for Photo- 

Shwe a. ak 2s 2a 
lager apery Foss)... 660 
Gloss Enamel Coated Book Paper.. 652 
Gloss Photographic Prints......... 33 
isiuedsUp Backing. ).......-. .885, 386 
lameness: 720 
ME eCULEEING | of ho. hs cn 719 
Government Printed Envelopes. . 766 
Gradation of Color through the Half- 

RO MCN MOET Hae yo ee eka we. 243 
Grain Direction in Papers. 665 
ene OK ie ol oan oes, ils 
Graining Machine for Lithographic 

Ibo a 516 
PreMetaine es. 2... (ees 
oy SO ES 170 
Grass Fibers for Making Paper.... 634 
Serene Cards. 2)... ee a 545 
Grinder for Rotary Photogravure 

COT Ce od D713 
Grinders Wood Puip.............. 628 
Ground Wood Fibre, Photomicro- 

Pe eee ek 636 
Group Arranged for a Border...... 103 
Grouping 

(ELSI a) 104 

Pea E ONZE i foc ck wc &2 

Pieckamical Partsa...-.... 84 

pie Oemeniien. fal. <. ss... a 75, 80 

een SoS 97 

MONS ps See 98 

PE AICS ok Gos se a: 102 
Serie mections; ..........+.: 100 
Sime Papers) Bod... Ae ie ws 681 
Ee a See A7 
Half Reduction, Meaning of....... 332 
bie oroek ePaper... 22.04.05. 634 
PaLevONY, COLOR PLATES,........ 276 
Oe ONE ee ee a ek 242 

er eer OCess ee eid ee 275 

Vo Ds OF) 5) a a 326 

ieirecr than Drawing... ........ 115 

Larger than Photograph........ 50 

PCCM ak Sass ke, 253 

Mareapper et... Sin fg 246 

OCS a a a ae 246 


Overprinting Flat Color......... 313 


813 


Page 
Halftone 

Reproduction of Prints......... 269 

Results from Different Photo- 
gtaphic, Papers qe eee 35 
Screeitinder ge. Geli. 6o ane 250 
CLEGG ae ea) oe 243, 247-249 
Witheitisertemee okt ean aut aah 102 
Hatttonemeterta.. ses heise, 338 
Hand: Coloring ris san ch, 42, 564, 791 
Hand. © Ompcsitici 4a eae me a 426, 439 

Hand-cut Overlays for Printing 
ia er Garive atl U tne, dastie ates 457 
Hand Drawn Lettering........... 169 
Places Slain eae: a ene ae 689 
HandleslestaorsPapers..0). 4 ee 664 
Handiieadarre Gopya. ones 328 
Hand Lithographic Press....... 504 
Hand Made Envelopes . 620 
Hand Made Papers i604 seen oo. 660 
Hand Sewed Bookbinding......... 698 
Hand Stamping, Steel Dies.... . 555 


Hacmony o1 Colora) ate ie) oe 574, 587 
Head-Banding Books ois). |) 704 
Heading Desisnes, eee ee eee 170 
Headings for Type Matter........ 412 
Height of Printing Plates......... 456 
HeighiiGm ly pens eee ee 429 
Helps in Making Layouts for Printer 411 
Tighlight.Halftones 0. ae eee 309 
High Spaces and Quads... 450 
Holdfast Shading Machine........ 67 
Holiday Greetings........ 545 
Hollow Backs on Books.... = TONS 
Hot Era bossing a7 A eye ee ee 598 
Ine Royale @ Feed: Vai AR nue owuleer Bo 172 
How Retouching Is Done......... 15 
How to Indicate Changes in Draw- 
INOS en te ee ee ee eae 107 
How to Order Photo-Engravings. .. 324 
Hypotenuse Oblong, The.......... 402 
Ideal Filing Systeme. oo ee 778 
Illuminated Monograms, Steel Die. 557 
Imitation Blue Prints............. 128 


Imitation Leather for Bookbinding. 710 


Imitation Steel Die Embossing... . 558 
Importance of Good Photographs.. 9 
Imported Papers... eee eee 655 
[Imposing Stonces. 5 Geen eee 449 
Imposing Vable 35) se saa ae 443 
Ira positions...) a6 eee cee 446 
Indexing) Books 5. net aes ween 715 
Indicating Size of Photographed 
Objects favre < oe a ae ao 26 
Indicating Size on Copy...-...... 331 


Indirect Process Color Halftones... 281 
Individuality in Work of Artists... 172 


Individualized Calendars.......... 159 
Infringement of Trademarks....... 734 
Initia lt Designstreras = ae eee 172 
Ink Fountain Divider............ 797 


14 


Page 
lnking in\Faints Copy se 4.7 2 aed ts 
Ink: Rollers.:Printing: oemeee ane, 463 
Inks# Printing 2s. eee ee BYE: 
in, Memoriam Designs ™)...272. 48 161 
Inquiries Regarding Mail Matter... 776 
Inserting in Group Photographs.. 96 


Inserting Separately Printed Sheets 695 
Inside iVLortise../2 oe tee ae ee 396 


Inside Routing and Tooling. . . 260 
Inspection and Packing of Paper... 670 
Installation of a Filing System for 
Platescand 2 opiesas: eater eee wir, 
Insured Mails sshay re ere 754 
Integral Coverss © ocean apne 705 
Interferences and _ Infringements 
Patents <a, .5-5 79 a eee 728 
Interior Views, ee ae 31 
Interlays, Makeready. . me eicy 
International Parcel Post......... 775 
International Reply Coupons...... 776 
loterty pel hex: 2m eee 435 
Inventory Value of Plates and En- 
ravens Copy gear ee 789 


Invitation Porms a... #i-5.4 ee 536-545 


lronediQOut Panels. 0s encwecoes 697 
IsstanceoL. a Patents. neues 726 
Vig? Saws <, cca eee eee 397 
Job Printing Presses eee 452 
Jogging Sheets,"2) 6 eos. - ee eee 673 
jordan Envine 4-5.) coe eee 636 
#ustincation ols [ype rr ees he ee: 440 
Kalograing.) 7h ae eee 172 
Kettle Stitch, Bookbinding........ 699 
Key for Finding Halftone Screen... 252 
Kind of Copy for Line Etchings.... 217 
Kinds ot: Cameétas a oe 10-12 
Kinds of 
Electrotypes? scans 3. ee ee 346 
Embossing Diesia, =... on eee 593 
Knvelopessve25. nee eee 621 
Leather Used for Binding....... 706 
Papert «Meir. wae oe en 626 
Photographs for Retouching. . 76 
WashiDrawings: s.2) 1. eee 112 
Wood for Wood Engraving. . aye 
Labor Saving Fonts of Pandan Ma- 
terlalu VEEN se: See eee 450 
Laid Hinish Papers. ae ee 650 
Laminated Backing2. «aetna meee 386 
Lamps, Photo-Engraver’s......... 219 


Lantern Slides: aie a eee 48 
UCarge, Plates, Makinc. ol aeeeeseee 
Law Book Binding ee eee a Be ee 
Laying Out Pages in a Booklet. 415 
Layoutont Billboards.) eae 
Layouts and Dummies... . .334, 335 
Layouts for Advertisements....... 140 
Layout Sheet for Printing Envel- 
opes' Flat inc ae) ee eae ee 
Layout Sheet, Lithography. . 
Leadéd«Type Matter’. of sues. 414 


INDEX 


Page 
Leaders, Type. .....2 441 
Leading Trade and Class Publi 
cations. . ....2¢. 0 808 
Leading Machine, eae 350 
Lead Mould Electrotypes......... 360 
Leads and Slugs: . (335 ae 441 
Leather Binding. 33. ee see 706, 710 
Ledger Papers...) 2a eee 655 
Lens: Diaphraniiee eee ee 1617 
Lenses..." eee 14 
Letterhead Designs.) 5 eae ee 173 
Lettering as Part of Halftone Color 
Plates..: .: o;c5 er 277 
Lettering, Drawn: . shee oe eee 124 
Lettering on Photographs......... 52 
LETTERPRESS PRINTING. ee 399 


"Mailing sa bic ie on tga 753 
Lifting Type... 441 
Lighting Objects to be Photo- 

graphed *) 23 ae 30, 31 
LINE COLOR PLATES §) eee 231 
Line Copper Plates... 2a 229 
LINE DRAWINGS, 121 
LINE ETCHINGS 

From Halftone Copy........ 218, 326 

From Photographs, 2... ae 218 

On Coppers. aie 229 

On Zine 262 Ae 217 
line for Finishing Halftones....... 259 
Linen Finish on Papers........... 649 
Linen Finish Photographic Prints.. 33 
Linen Papers 245.0 oe 655 
Line Shaded: Drawing @.-aee 122 
Lines of Type to the Inch yaa aaee 413 
Lining and Head-Banding Books... 704 
Lining Machines. S09 a5 260 


Linogra ph, ‘The. 2. te ee 436 


Linoplate Process. <4), 9552 ae 795 
Lino-Tabler Systems... ae 796 
Linotype, The. *.. >.>) 35 ae 431 
Lithographic Paper... 25 eee 659 
Lithographic Printing from Metal 
Plates. . ....cke4e 502 


LITHOGRAPHY AND OFFSET PRINTING 483 


Lithography in Colors/. eee 500 
Lithotone........2 5.) ee 267 
Locking Up Type Formesa eee 449 
Loft Drying of Papers) ene 649 
Logarithmic, They... . eee 55 
Logotypes. .: .i.cei. eee 174 
Long Focus Lenss) 3.5 eee 17 
Loose Leaf Styles of Binding.. .... 722 
Lost, Damaged or Delay ed Mail 

Matter... +.o. 25). cee 770 
Low Spaces and Quads.) 9) sees 450 
Ludlow Typograph. eee 437 
Machine Composition... 5 se 431 
Machine Finished Papers......... 651 
Machine Shaded Illustration. ..... 70 
Magnified View of Printing Surface 

of Halftone...= pase 245 


INDEX 


Page 
PPAR NICCEW ICWOS sore Sucve boa we acs 210 
Mailing Cards and Folders....... . 168 


MAILING LIsTs AND PosTAaL INn- 


SOP OS Lo 735 
Mailing Matter Without Stamps 
EAE SG. on 763 


PM RICCOLCS ave cnc on cys sas tt 
Makeready for Embossing Dies.... 596 
Makeready for Printing........... 456 
Making a Layout or Dummy for the 
Lato Wis 5 De 410 
Neale Embossing Die:............ 5¢2 
Dia AMOPAVING 5. oe iw sw bn 378 
WVICRMGMILOSING ote. ok ck mes vues 720 
Margins and Type Page Sizes... .. 415 
Marking Copy for the Engraver .52, 273 
Mask Design for Panel Groups.... 105 
DEsnea-Out Prints: .............. 40 
Mask for Air Brush Work......... 62 
Masks for Obtaining Color Har- 
a ee ay 588 
Mats for Stereotypes............. 364 
Mechanical Process of Preparation 
MEVVOOUMOIP aAper, 2.0.64. nen. 626 


Mechanical Subjects, Photographing 24 
Medals and Casts, Photographing.. 25 


Metal and Wood Furniture........ 449 
eetelMeeiging 70... ns 678 
hetalfor Eine Etchings.......... 229 
Metallic Overlay Process of Make- 
Peay rOrub Tinting... ...... +... 460 
Reeesmell Bases. oi. .......-. 390 


Metal Used for Photo-Engravings.. 332 
ISLT est ee VIN EET Pe 
Methods of Folding Circulars, Fold- 


Gece CNS Soo 9h 405 
METHODS OF MOUNTING PLATES... 384 
METHODS OF TREATMENT.......... 133 
NSE) 263 
Dlezzatint Engraving............. 547 


Miscellaneous Photographic Equip- 
(EEA OO rn 18 
Models as Copy for Wash Drawings 115 
WodermRoman Type............ 
Moire or Pattern Effects in Half- 
SOY Sa 271 


Monograms, Steel Die............ 552 
(uric) Se IN 432 
PEOTOCCOMBINGING 0 ou. cee ess 707 
Wheres lh eS 396 
DOO ee eECLULES yc. ye ass es 49 
Mounting 
Combination, Plates, ......:.... 302 
(ut-out Photographs........... 89 
WoMWOSSING DICS. 55. cee 595 
Halftone Color Plates.......... 299 
elles MICRTINO Gs) ac als oe oss wes 260 
re Weta le Bases o.c.c5 04) y's sea dn 389 
PART AS gh welche: cans seers fie Los 34 
Mamllen Paper, Lester... 4 ........ 665 
Multicolor Printing Press...... 465, 474 
Munsell Color System............ 794 
MIUSICLELNGRAVING... 2. ...0s0 05 es 608 


Page 
NailingoViachineas wean. ae oe 355 
Names of Paperioizes see ODT 


Narrow Angle. Pens 2.0 45.5 4... 17 
Need for Retouching Photographs... 75 


Need for Wash Drawings......... 110 
INcEdsOLEWIplicateab latest sas 32 O45 
INGW51 Pape ieee tenia ow thy eae 650 
Newspaper Clippings, Reproduction 

Ol agian en we ot eg Be Mess 167 
Newspaper Press... .........476, 798 
New Type Faces, Designing....... 427 
Nickelplating Electrotypes........ 362 
INickelLypes Nw ee wha oe 342, 362 
Non-Distribution System......... 451 
INon-Postave Stamps 4oe-.3 450 k.0 (eal 
INOtCHINg BRIBES tag 3a eee ba oe 396 
INoticetOL. Copyright re: ae a6 ac 729 
NoveltWiGro poate cack ee 97 
Numbered \sroupsen te © 2a ee 26, 101 
Numbering While Printing........ 464 
Number of Lines of Type to the 

LWT ae SORE eg ieee eR 413 
Objectional Mail Matter,......... 779 
Ubtaininera, Copyrohtyee 728 


WStavOwlZecrme aioe nets eee 691 
Office Style in Preparation of Copy. 444 


OfmeialPostalGuidesen ae eee 738 
OfisetsGra ville aan en anes are ee 805 
Offsett Paper ca: = te ee ee eee 659 
Offset Plate Making Machine...... 803 
Offset Printing Process. ......==. 503 
Oil;Patn tings sn u.ce ms cream Bec 137 
OllsPa ner eave) ae ee ea 661 
OldaPlatess\ alice ol noes eee 789 
OldyStyle-Roman*“by per. aisha 416 
Omitting Parts When Embossing... 599 
One Color Combination Plates..... 302 
One-Way Screen Halftone......... 266 
Opacity lestiiorm Papen. eee 663 
Opaque: Inks) 2 ye eee ee 586 


Opaque Wash Drawing........... 112 
OpaquingiNecative 2) eee 36 
Operations in Making a Line Etching 220 


Ordering Embossing Dies......... 599 
Ordering’ Panern eaen ice: kee 671 
Originals vs. Photographic Copies.. 79 
Orthochromatics Plates 9 see 19 
Outlines Drawing > ore eae 122 
Outline Finish Halftones.......259, 261 
Outlinesblalitoneeen ss ee see ee 261 
OutsidesMortiseg: a. 5 wee 397 
Ovalings Machine sa. nee coe aeee 61 
Overhead Camera Rigging........ 18 
Overlaying Processes../....... 457, 459 
Overlays 230k aera eects ee 86 
Overlayss:lasstiety eate eee eee 107 
Overprinting Combinations........ 321 
Ownership of Printing Plates...... 450 
Packing and Inspection of Paper... 670 
Padding Sheets of Paper.......... 673 
Page: Horme.....0e0) one hae 446 


816 


Page Heading; Designe... 4. see 170 
Painting in for Machine Shading... 69 
Painting in on Line Color Plates... 233 


Painting over Photographs........ (65) 
Paintings ii Oil aa ee eee 137 
Panchromatic Plates. 7 eee. 19 
Panel’ Backinovi ere ee 384 
Panel:Groupse oc. ok 3 te ae 106 
Panel: Mackaya se ase annan 105 
Panoramic: Camerata ee 10 
Pantograplt motte ets pee 60 
PAPER <.cEC ERG UE cet es ees 625 
Hulk lésterse. see eee 665 
COVers oc: eke cho ee ee 705 
Cittinges.. 7s. see 686 
For Photogravure Printing...... 563 
Fibres, Photomicrographs....... 636 
Ruling. .4: eee ee eee 681 
Selection Of [ons nc tee eee 400 
lest. Beam Oca fee 665 
(hickness, Gauges. --5es eee 665 
drade,C ustomis 22s eee 671 
races Nainiese. 0 ese are 670 
Pa peteries (ois aoe) en eee ee 671 
Ratallel, Foldsh ia". 2s eee 688 
Parcel Post Manan et ee 747 
Parcel Post Zone Rates. <-->... 745 
Parchment’ Paper:3 .-e eee 661 
Part of a Copy, Reproducing...... 333 
Parts of. a“Type, 2) <a: ae eee 427 
Party Anvitations eee ee eee 541 
Pastels ori se ee ee oe 137 
Patched and Retouched Photo- 
STADHSs an. nee toe ee 40, 92, 106 
Patching Halftone and Line Etching 
PLACES. us wuctek cee ee eee 337 
Patching Line Drawings, / 3.) 2... 131 
Patching Proofs from Type on 
Drawitigs 7. eo ee 130 
Patent Blocks and Plate Mounting 
Systems... sce eee 392 
Patented Embossing Processes..... 600 
PATENTS, TRADEMARKS AND Copy- 
RIGH TS. scant gt tele ee ee 723 
Patent (lop baccs 4.0 ee ee 390 
Pattern Effects in Halftones....... 271 
Pattern Plates of Wood Engravings 375 
Pebbling Printed Sheets.......... 678 
PenciliDrawingst) are ee 138 
Peneil Payouts oe eee 334 
Pen Drawing 6. eee 123 
Perforating Sheets of Paper....... 675 
Permissible Additions to Mail Mat- 
tety oe eae See eee 152 
Personal Cards san eee 539 
Photo Copying Machines......... 792 


Photo-Engraving, A Special Service 324 


PHOTO-GELATIN PROCESS......... 520 
Photographers’ Imprints on Photo- 
graphs.c/ tek, eee ee BQ 
Photographic Enlargements....... 46 
Photographic Films and Plates.... 18 


Photographic Prints. ..... 34, 37, 39, 51 


INDEX 


Page 
Photographing 
Assembly: .. 7) ee 98 
Caskets... : 03 23 
Furniture. .2.2 eee 197 20728 
Interior Views... 6 1 
Machinery... >... .. 26.) 24 
Medals and Casts... ae 25 
COVES 0), once ee 23 
Top: Views 23a eee 29 
Window Displays, 3255 3l 
Photograph Printing Machines.... 38 
Photographs as Copy for Wash 
Drawings)... See 115 
Photographs by Professional Photog- 
rapher Js ee 50 
Photographs, Flashlights.......... 31 
Photographs for Newspaper Half- 
tones... ine ee 32 
Photographs of Retouched Photo- 
graphs... 78 
Photographs of Wash Drawings... 78 
Photography. 2.77) 2. eee 9 
Photography, Color. 3.2. sae 42 
PHOTOGRAVURE, .. 2. nn 509 
Photolithography, 30a 489, 502 
Photomicrographs <. 3) eee 43, 44 
Phototone...... ait een ee 265 
Phototypesi2e. spe 267 
Pigskin for Bookbinding. ......... 707 
Placing a Printing Orders.) se 423 
Placing Objects on Floor to be 
Photographed). 97.7 ae 28 
Placing the Illustrations in Layout 
or Dummy... ee 411 
Planing a Type Form, 22 449 
Planing Blocks to Type High..... . 224 
Planning a Job-of Painting 9. 400 
Plate for Offset; Printing ta00 504 
Platen Printing Presses... eee 452 
Plates Affected by Some Inks...... 575 
Plates to Be Machine Shaded...... 66 
Plating Paper), 2 2 648 
Points of View for Drawings... ... 152 
Point System of Type Measurements 429 
Pony Printing Press) ) 2 ene 454 
Portrait Lens. ie 14 
Portrait Photographs for Halftones. 42 
Portraits Engraved on Steel....... 548 
Portraits, Styles of Halftones from. 179 
Posed Groups...2 ). 2. eep eee 98 
Posing Objects to be Photographed 27 
Positive Plate S22 2), ee 227 
Postage Due on Mail Matter...... 768 
Postage Saver Envelopes.......... 618 
Postage Stamps..75. 2.) eee 761 
Postal Cards... 768 
Postal Informations... 2. aa 735 
Postal Laws and Regulations...... 739 
Postal Money Order System....... 760 
Post Cards. ..7 7 767 
POSTER MAKING. |, 2.00 612 
Poster Sizes. ....) eee 614 
Poster Sketches, .70-)2 ee 616 


INDEX 


Page 
iVWe 03 ee hethe CO ie 184 
Fewer Press) Kmbossing........... 555 
Precancelled Postage Stamps...... 763 
Preliminary Work on Engraving 
LAGU es 325 
Preparation of Forms and Plates for 
PECUOIOINO Ge, Sv se ee 345 
Preparation of Mail Matter....... 750 
Preparation of Subjects for Photo- 
Ce Gr 19 
Preparation of Wood for Making 
Saye ee 626 
Preparing Copy for Halftone Repro- 
SE, a a 270 
Press Feeders, Printing........... 462 
Press for Printing Copper Plates... 528 
Press for Stamping Book Covers... 602 
Press Rolls on Paper Machine..... 641 
Press Room Operations, Printing... 452 
Pelee ewer os iv. cs eee 267 
Plnuer soon tcket sy. 65 0 skal. 425 
Printing Demonstration on Different 
OSES es 672 
Private Viatline’Cards............ 767 
Printing Halftone Color Plates..... 297 
PRINTING INKS AND THE HARMONY 
LE i A 574 
tae on Wietal....... 6... es. 516 
Printing Photogravure Plates in 
CO SLES a 565 
Peano Presses, JOD... 6... ss. 452 
Printing Qualities of Papers....... 672 
Prints and Labels, Copyrights..... 730 


Prints from Several Negatives on 


CIS Qe Sie 39 
Dilipes re WOtostapniCs. .. 3.8... 37 
Prints Reproduced by Halftone.... 269 
Process Colors............295, 296, 586 
Process Halftone Color Plates..... 276 
Professional vs. Amateur Photo- 

ea i Ss in Sais aw es 9 
PPomtecsiye PFOOISc. . 2 oe oe se 296 
PUOPCUOMPEINTING 5 cca eee 46 
GLEE CCE iS. 443 
eo SUES tt 442 
Prool-headers Marks. ........... 444 
PEC OIS ME NSEAVED Si. ee 335 
Proportioning and Trimming Copy. 327 
PROPORTIONS IN ENLARGING OR 

URN CCU. FC" iar 53, LOT 
Proving Halftone Color Plates..... 296 
Perow inet ates . 5 ei al ee ws 225, 260 
ve LEY NYS 5 9 0 a 635 
Pulp for New Paper from Old Paper 634 
Pulp Grinder for Wood........... 628 
Punched) Viusic Plates. ........... 609 
Punching~Paper Sheets........... 673 
Putting the Cover on a Book...... 712 
Mrs BNC SPACES i a. 6 nee eines s 441 
PO AME SIZED Ae I es ye os es es 691 
ARSE ore Oe ca al ga 449 


Page 
Racdiogr pliyecs © esses ey ieeaan ere ae 44 
Rag Fibre, Photomicrograph. ..... 636 
Rags foraviakingsbaperes sae... 631 


Ready Made Covers or Cases for 


DOO hea wits eee gd cae 712 
Receipts for Parcels Mailed....... 754 
ReECepiion: CalUseas 0 ta oe. 538 


Recitlineat, Lens ashes ert ee 14 

Redemption of Stamps, Stamped 
Envelopes and Postal Cards..... 762 

Re-Etching Halftone Plates... .257, 294 


Reference Letters and Figures, 
Methods of Appending......... 210 
Refining Enoine,-]ordan? :.4....0 2. 637 
Reiecting Wamers sero mtyss eee 12 
Registered sMailsaa. eee eee 759 
Register Hooks for Patent Bases... 393 
Registering Colom F Oris. ea. 448 
Nepisteraviarke ook ae ee 291 
Registration of Trademarks. ...... 731 
IRGORG(S atten wie enna? Sarat ee. 442 
Removing Objects from Group 
PHO OoTa plist, a esake ee. 93 
Repairing Halftone Color Plates... 299 
Rephotographing, Patching and Re- 
touch itioverweutin ms ote ah het aes he 94 
Reply Coupon, International...... 776 
Reproducing from ‘Books. ....:..4.° 327 
Reproduction of Amateur Photo- 
gsTapliay see G re aes ae 135 
Reproduction of Soiled Portrait 
Photograpise gee ee ee ce 135 


Reproduction of Testimonial Letters 1638 


Reproductions with Mezzograph 
Screense yt ey sae er A ee ot 265 

Retaining Negatives for Duplicate 
Plates pts ree ee ee ae oes 255 

Retaining Proportionate Sizes in a 
Series of: Objects. 2. ke eee 26 


RETOUCHING, ALTERATIONS AND 


GROUPING OF PHOTOGRAPHS..... 75 
Retouching Photographic Plates... 34 
Retouching Photographs. .... 75, 90, 93 
Return ot Mail Matter, 2295 2 769 
Return of Photo-Engraving Copy.. 339 
Reversed Face Envelopes......... 622 
Reversing a Negative............. 254 
Reversing Black to White in Line 

Etchings: seyret en oi ee 226 
‘Revises iP roots 2+. pad aay eee 444 
Richtvingle holds) s a.eres ae ee eee 
RighttoOwshatente iy eee 726 
Rosshoardn, Je eee eee 59 
Rotary Paper-Cittersa) 4 sme oe 
ROTARY PHOTOGRAVURES, 3.474 4. 566 
Rotary Printing Presses........... 470 
Rotagravilresecens ae te ee 566 
Rough Golomschemeas aaaene ee 334 


Roughing Machine for Electrotypes 353 
Roughing Printed Sheets. . bts 
Rough-Surfaced Photographic Prints 34 
Round Cornering Cards and Sheets. 674 


818 


Page 
Rounding Book Backs... au se. e. 704 
Routed sHalitotiess. 218 2. ck) eee 261 
Routing and Finishing a Line Etch- 

LSPA Stee Ge Rides ates 223, 226 
Routing: Electrotypes vacuo ee 304 
Rubber Printing Plates... ee 602 
Rule. Benders. sn a ee 603 
Ruled: Gackerounds| 7-aenneen es ee 212 
Ruled’ Forme see eee ce ae Opp.682 
Rule Forms, Wax Engravings of... 380 


Rules of Publishers Regarding Ad- 


Verlisements 2 oases Glee Ae eee 144 
Ruling Machine for Engraving on 

WO0d casat.5 cee rien eee eee O74 
Ruling Machine, Lithographic... . . 486 
Ruling Machine, Papen sac eet 681 
Ruling of Halftone Screens........ 244 
Rural: Delivery Maps7.9 525 eee 739 
Rush Orders for Photo-Engravings. 338 


Russia Binding 97.90). eee 707 


Saddle Stitchiitia- 3a ee 
malety Panerai econ nae 659 
Same Focus Copy for Halftones.... 275 
Daw and eErimnier nen: Seu. Ree 197 
Scaffold, Use of for Photographing. 30 
Scales for Size of Reductions or En- 
lareemenic. <a eee oe 54 
Scoring Heavy Papers and Card- 


boards :iij a) aac, oe ee 465 
Scrap Book for Proofs of Plates.... 784 
scratch: Board ase ee eo eee 59 


Screens Halttonemaena = ee 243, 247, 249 


Screen, Rotary Photogravure...... 568 
Sealed or Unsealed Advertising 
Matters Saas ae Sn ee ee 738 
Sealior Bookbinding <.. os sean 707 
Stal) Pressise aie: ee ee 607 
Seasoning Papers... 256 soe 667 
secondary Covers... eee eee 698 
Second Class Mail Matter. . 743 


Sectional Filing Equipment . ie ehaes ears 


Sectional Patent Base Blocks...... 393 
Séctional’ Viewse - we see eee 210 
pelecting (the Printer. ae ee 399 
Selection of Paper for Printing. .... 404 
Selection of sl ype one eee 416 
seli- Contained Covers: 4.8.00 meee 705 
Sending Copy to the Engraver..... 333 
Separate Negatives for Patching... 40 
Sepia Photographic Prints........ 34 
Series af Dy pe 2 «cca 428 
sets of Platess baling 2) eee 786 
Setting Type... ae ee eee 439 


Several Exposures on the Same 
Plate, Photographing 2s, ae 30 

Sewing on Bands, Bookbinding . 699 

Shading Applied ‘with Graining Box 73 


shading Machine. a2. 9eaae nae 65 

Shading Machine Films........... 72 

Shading Machine on Halftone Nega- 
tives ofr Sy eek eee ra 


INDEX 


Shallow Halftones?.. =e 
Sharpness in Photographs......... 17 


Shaving Machine for Electrotypes.. 353 
Sheepskin Binding. [323.0 eee 707 
Sheet Music Engraving; ) 32) eae 608 
Sheet wise Forms... i252) 447 
shell of Electrotypes.. . sae 351 
Shipping Labels) 5a eee 185 
Shoe: Drawings. s- neue eee 112 
Short Focus: Lege: a5. ae 17 
Short Paid Mail Matten@iiate.30 eos 
Shrinkage Test for Papers......... 667 
Side Stitchingi722. 24,0 697 
Side Wood Engraving 3... eae 372 
Signature, Book? 92).2.. 43a 691 
Signature Designs... eee 185 
Silk and Cotton Printing Machine.. 479 
silk Stencil: Process 352 aenee 791 
Silver Print Papers.) eee 57 
Silverware and Polished Objects, 
Photographing? see 


Sized and Super-Calendered Papers 651 
Size 


And Weight of Book Papers... .. 652 
And Weight of Cover Papers.... 653 
And Weights of Writing, Bond, 
Linen and Ledger Papers..... 656 
Envelopess2.2. |e ee 618, 619 
For Booklets and Catalogs. ..... 401 
For Line, Drawings.) eee 132 
For Wash Drawings... eee 114 
Of Body Type: 2 see 414 
Of Copy for Line Etchings...... 219 


Of Copy for Photo-Engravings 326, 384 


Of Halftone Screens’. ae ee 250 
Of Photographs for Halftones.... 50 
Of Type. Pages Sa. pase 415 
Sizing Paper. 2.2: s6, 647 
Skeletonizing -23.c. 55a 448 
Sketches for Designs and Illustra- 
tions. . ...4:45..00 sp ek 334 
Skivers for Bookbinding. 7 .asesae 707 


Skylights... 2.3 10 
Slightly Retouched Photographs... 78 
slip-Sheeting..).. 05) 
Slitting, Winding and Cutting Paper 642 
Slugs and Leads; . 2... =e 441 
Slugs, Machine... 42 4... 431 


Smashing Signatures...) ae 691 
Soft Focus Photographs: . 7. ge.9eneoe 
seft Plate Paper a ie pee 662 
Solid Metal Bases). .> sae 389 
Space for Type, Estimating....... 411 
Spaces and Quadeusg =e: aaa 440 
Spatter Work... 25.08 122 
Special Binding of Books.......... 722 
Special Delivery Mailan33aneneee 758 
Special Made Envelopes.......... 619 
Special Permit for Mailing Without 
Stamps... ....2.. see 763 
Special Printing Presses). eae 465 
Special Type Characters... uae 450 


Specifications for Order for Printing 424 


INDEX 


Page 
BecINIeNS Cle LY PG... wc eo. 418, 421 
julea Mel aS See a 16 


Spoilage in Production of Printed 


hehe tee. 4 6). ns oo 409 
morine Backs on Books........... 715 
Square Finish Halftones..... 261 
Square Halftones from Oval Photo- 

TA ee eS a ee ee 90 
Staging and Re-etching Halftone 

yes a Sa 257 
Erinea Prints on Metal.......... 320 
Siastecuepped Mortisé....,........ 396 


Stamped Envelopes and Newspaper 
LOOSE 8 i 0 ean rr 7 
Stamping and Embossing, Steel Die 555 


PUM GOld 5. . 5... ee es 719 
Puatmpno ol aves. fo... eee 601 
Standard Format Sizes... . 403 
Standard Scale of Prices for Photo- 
GL Ee 339 
Braue ieciricity in-Paper)........ 6/70 
Pe ietine LieG . fs fe. oe Se. 606 
Steel Embossing Dies. . . 595 
Steel Facing Photogravure Plates. . 562 
STEEL PLATE AND DIE ENGRAVING. 548 
Sree idte t Oftfaits... i... ce es 549 
Steel Rule Cutting Dies........... 603 
SCI Meh SS 0 Oi rr 362 
Dreteolypes. 0... 2. .2-2...-..342, 364 
Min@ MGOTIDUSING 1.65. ssa eee 439 
Se euckingsl)p lransfers......... 487 
Pee OGi COVERS. 0 2s oe en 705 


Sropicos weawing .. fi .s. 2... ers. 122 


Sipping erinted Sheets.......... 678 
DUCE Ge 0. aie oe as a 696 
Stock Engravings, ee 497 


Stock for Embossing. . eae. 


tgtclo MES es A ee rr 616 
Stones, Lithographic..... Jo... 484 
Stop Cylinder Printing Press...... at 


Storage Shelving for Package Filing 
Sioveswl MOlographing..........:. 33 


Straight NUDE oT I ae ae a 426 
Saeetioarcards, ize of.....:.... 332 
Strength Test for Paper. . .... 664 
Stretch in Silver Print Paper. . areas 
String Loops for Hanging....... 678 


Stripping a Negative...... 220, 254, 255 
Stripping Line and Halftone Nega- 


bivece MOCCLUEH? ic. fie es 303 
Srureenest tor Paper Pulp..... - .. 638 
Sweating Plates on Metal Bases... 389 
Styles of Bookbinding......... ROE ELU: 
Styles of Copper Plate Engraving... 531 
Styles of Drawing. . ae 133, 185 
Styles of Drawn Lettering. ree ha) 
BES Oe LADEN auc foe soe, ses 418, 421 


Subject in which Another is Inserted 102 
Subjects for Reproduction by Photo- 

PRON S. 5 doe a re a ri 
Suberancelest-.for Paper......... 


Page 
Sulphite Fibre, Photomicrograph... 636 
SUA Cin LS eee ee ean rea eee 37 
Super Calendering Paper...... 648 
Superimposing Colors in Printing. . . 239 
DML acer d CSHIGMEApEL. oe hoe ee 662 
Symbolic Group Design.........<:; 103 
SyimMDolc Groupse, 1.9. sean aaa 100 
Symmetrical Lensesyre.4. 4.2", 500+ = 16 
Sympathy Acknowledgments...... 546 
System for Handling Large Printing 

ODS, a5 ae eines SPAGR ae S ots tal 422 
Tabbing Cards and Sheets........ 673 
‘Papletiic-Panet pew mre © 673 
Tapes Between Signatures, Book- 

DPV CUI oer tien Bepa lea rsd fap ce sete? 699 
elephoto lect eee acest 15 
Temporary Mounts for Photographs 51 
Tenting in Objects for Photograph- 

PESO Oe ee ee Aint RW a ee 21 
Testimonial Letters, Reproduction 

6) Lice sage ane Meade a Oe ree tea Trg. 163 
phesting Paper Shc iaut ys aoe 662 
Texture of Halftone Screens.....-.. 244 
hexcure:, lest lorsPaper.n 2 soon as 663 
Thickness of Metal for Line Etch- 

TSS hee, Mh ares eine nA ee 229 
Tacs ‘Lest lor Papers.) nee O03 
ThirdsClass Vials Matters aaeen ane 743 
(hbrasher,<A ovate ne eee es 631 
Three Color Process Halftones..... 279 
Tight Backs on Books........ ss: 715 
RLtemies Eripodemernrna s fe fees ce cea 18 
Time of Day to Make Photographs 

Ol. EexterioraViews yee ee i! 
Pind dette cea setae ee eee: 678 
Tint, Bloék:-Backeroundssn >. 54-45 241 
Tints Superimposed in Printing.... 240 
‘Lipping Gn Prints ese eae 696 
“Tassie Overlays in seen cacee sas 107 
TitlesPacve Styles: oe. 6) Se ree 208 
Titles for Plates and Copy........ 782 
Tongue and Grooved Wood Mount- 

ino Blocker: wea eee 385 
Tooling and Burnishing Halftones.. 263 
Top Views, Photographing........ 29 
Tracing Copy a Ae Wes ee odie oe ee eR 126 
‘Tracing. Pa perset ate ene 57 
Trade Composition Plants........ 439 
Trade Customs, Copper Plate En- 

craving Wh. Baan Seen amen, rae 530 
Trade Customs of Electrotypers... 363 
Trademarks Designsar oo. ee 208 
Trademarks and Trade Names, 

Copyrichts-=22e5 eee 730 
Trade Name Desioenssateenaree: ene 185 
Trade Names, Brands and Water- 

tnarked: Panerste: dc oe es 670 
Trade Names of Envelopes........ 621 
Transfer Prints.on Metal. 2. .5..- 320 
Transferring for Offset Printing.... 509 


Pages 809 to 824, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 


Coated “Paper Co., Hamilton, Ohio. 


820 


Page 
Transtérs) ithorrapiice. es 488 
‘Transparent, [nkssien eer. ne eee 586 
‘Pransparent baper scene eee 660 
Transparent Wash Drawings...... 112 


Treatment of Mirrors in Furniture. 21 


‘Trimming Blockst eee. tae ieee 224 
Pringle BOoks.o. es eer ree 703 
Trimming) Copy sateen ee aoe a med 
‘Pub Sizing Papers io) ee oe 648 
Tarnina Negative Sees ee 254 
Two Color Process Halftone....... 278 
Two Compartment Envelopes..... 624 
Tying Booklets with Cord......... 698 
Two Line Color Plates] = a eee on 
Two-Fold Envelopes............. 619 
Type ln. Mid teaee e eeeeee 426 
Casés. 5. 33 nie air a eee 427, 428 
Facess.c 8. eines eee eee 418-421 
For Lithogrmphing 2. oes 498 
Orit tase ec oa ee 442 
Forms to be Electrotyped .ta0ee 450 
Tig Wi Res aint ac ioe 5 eee 381 
Leaded ns hin at ee 414 
Léad and: Ritle:Gasters2 ©)... cee 438 
Matricesern > cet a ee ee 427 
Printed Over'a Flat Color. o..20% 236 
Set Solids... in ae eae oane eae 414 
DIZES da Sia al Ee, eee ee 429 
Typeset Music.26225 7 eee 610 
Type Sizes and Characteristics..... 430 


Types of Headings for Type Matter 412 


‘Ly pes ol. Letterheadse. 5.3 2 er 173 
Typewriting for Reproduction. .... 126 
Undeliverable(/Maileg>.23. 22 751, 769 
Undercut Haliiones 4... ee 250 
Underlays, Makeready for Printing. 457 
Uniformity in Color of Wash Draw- 

INGS |. id eae on ae 118 
Uniformity in Photographic Prints. 651 
Uniformity of Size of Subjects ina 

Groupc soe eee ee ee 82 
Unniatlable: Matters see ee Teh 
Unmounted Plates 74s. eee 385 
Unsymmetrical Lenses............ 16 
Upholstered Furniture, Photograph- 

ING io Hc Ape Rah eee 21 
Use of Models for Photographing... 29 
Uses to which Duplicate Plates are 

suited ; site. Renee e eee ee 343 
Using Paper that Cuts with Waste. 407 
Vacuum Printing Prames aay 256 
Valuable Copy, Treatment of...... 327 
Value:of Old: Papers. 27a eee 635 
Valueiof Old: Plaicsns ee sae eee 789 


Varnished Furniture, Photographing 21 

Varnishing Printed Sheets. . 679 

Varying Prints from the Same Nega- 
_tive i+ s Dee aes ee ee 37 


INDEX 


Page 

Vertical Position of Pieces for 
Photographing Groups.......... 28 
View Camera: ?\22 2 10 
Views of Books) 222 aa 157 
Vignetted Photographic Prints... . . 40 
Vignette Halftones. 2, yen 261 
Visiting Cards 2320.2 539 
Wall Paper Printing Machine...... 479 
Wash DRAWINGHo = ae 110 
Wash Drawing on Special Surfaces. 118 
Wash Drawings, How Made.. Aad" & | 
Washers, Pulp... 2,2) ee 623 
Water Colors. 4 .:.4). ee 138 
Watermarking Paper: 92) 2 eee 640 
Wax ENGRAVING) 3). rere Ti: 
Wax Mould Electrotypes...... 346 
Wax Papen, .. .29o./i222 See 661 


Wax Shaving Machine, Electrotype 348 
Wearing Qualities of Halftones and 


Line Etchingshee 5 =e 337 
Wear Test for Papersa..) eee 667 
Web Printing’ Presse eee 465 
Wedding Announcements......! 537, 538 
Wedding Invitation Forms........ 536 


Weight and Size Limits of Parcels 

to be Mailed)..028 Sees 
Weight. Test for Paper se 
Wet Leading, Electrotyping....... 
What Constitutes Infringement of 


Copyright: (ce. ie eee 730 
What May be Copyrighted....... 729 
ae May be Retouched in a Photo- : 

raph, :. 2.4.00 oe 7 
White on Black, Line Etchings.... 227 
Wide-Angle Lens. 2. ae 17 
Winding, Slitting and Cutting Paper 642 
Window Display, Photographs..... dl 
Window Envelopes. 2.2. 92. 623 


Window Trims, Made by Lithog- 
raphy ee Peete 516 


Machine. .)...5. o. ee 638 
Wire Stitching: 3. 2s eee 696 
Woop ENGRAVING. 22. S95 ae eee 369 
Wood Engraving for Posters....... 614 
Wood for Paper!.2 3...) see 627 
Wood Mountings. 74.) eee 384 
Work and Turn Forms........... 447 
Working Drawing for Machine 

Shading... =. ee 66, 70 
Worms-eye View 2.206 2 ane 27 
Wrapping Mail Matter, (32.52). 746 
Wrapping Plates for Filing........ 785 
Writing’ Paper. 2.22.5 654 
X-Ray Photography...) see 44 
X-Ray Views..7) jeu 210 
Zinc Etchings. = 229 217 
Zinc Halftones: |, 2). sae oe ee 246 


INDEX OF PAPERS USED IN THIS EDITION 


OF COMMERCIAL ENGRAVING AND PRINTING 


Pages 
terete mame! Coated Book... 00.00.0000 6ccdsenccscaces 1-688, 785-840 
Ll MO 5 dys 5 by snk @ oluie bao vue dw Ds Oe bao Ee we vlace. 689-696 
Im MAMEPCINTIGUT OOS a5). % co oa ee ws tb had eden eda davads adeue cus 697-704 
mereiereranisn: Book:........ 6... Leena Ne MRE ce AL ee aa, 713-720 
OA UOT a ri a rn on i a, i nc cri 7 761-768 
Ms MO, fame es Lar die as oh EES GA Sole ca soe ah dla Su wen 769-776 
Os oi SS Mgua hhc oe Sa I ai oh ae ee re a on a 777-784 
Made by The Champion Coated Paper Company, Hamilton, Ohio 
er ry Ee oe aie asd a Sivek Uy ow eve bee yaa J5=7 12 


re eat esse eas wa mecdne since deb cav ew et aes 


Made by the Northwest Paper Company, Brainerd, Minn. 
Se er yee Fc fc sep oe plas sat mtu nv ws 009-912, /29+736 
Made by the Allied Paper Mills, Kalamazoo, Mich. 
PMT ERO aoe cg cs eipiee oie cc cles ole pa one Da ee ee 737-744 


Made by Valley Paper Company, Holyoke, Mass. 


Wistaite eilelistiniie: ails) eileite (6's) 2] "elie (ee) 8,100.6) 10, 6; ie (0; (0) 6:10 ‘S00, 0 16 je: 16, 6 (ene fo 6 © ONO, 0) 0 00. 80 oe i ew oo 


Made by Gilbert Paper Company, Menasha, Wis. 
SMM NE ans oes waldo owned ne doh ods Pete ew wee eMes 753-760 


Made by Columbian Paper Company, Buena Vista, Va. 
Rear Ore CRON Wa. sa oes coe SGa be S84 tle de whee Insert Opposite 520 
Made by Whiting Paper Company, Chicago, III. 
et ee ca be adie bs ed ave betes Insert Opposite 540, 548 
Made by Z. & W. M. Crane, Dalton, Mass. 
tN sr en ee eh nc Ss nies wale waned Dee wiowss Insert Opposite 682 
Made by Byron Weston Company, Dalton, Mass. 
ae a ey tgs sacle shies wigs ods Pwiele P44 Rade WES 489-496 
Made by Crocker-McElwain Company, Holyoke, Mass. 
RRM CN MES Rat OME SR ex? Soon kek A «x Cal ack ds vise e ogo v ghentad ace & an Cover 


Made by Interlaken Mills, Providence, R. I. 


United States Blue Print Paper Co. 


207 South Wabash Avenue Chicago, Illinois 


Dealers in Artists’ and Drawing Materials, Blue Print 
and Tracing Papers, etc. 


Manufacturers of 


SILVER PRINT PAPERS 
for Artists, Photo Engravers and Lithographers 


V. H. LOCKWOOD R. G. LOCKWOOD 


LOCKWOOD & LOCKWOOD 


Patent, Trademark and Corporation Law 
Telephone MAin 1103 
1211 Fletcher Savings and Trust Bldg. INDIANAPOLIS, IND. 


821 


INTERLAKEN 
Book "sie" Cloth 


Extra Colors Common Colors 
Vellum de Luxe 

Art Vellum Art Canvas 

Crash Cloth Art Buckram 

Basket Cloth Intergzrain 


‘HESE nine grades in many 

attractive shades and patterns 
used for binding General Litera- 
ture, Novels and Fiction, School 
Books, Technical Reference Books, 
Law Books, Business Booklets, 
Loose-Leaf Binders and Catalogs. 


Write for Samples 


INTERLAKEN MILLS 


New York Office Providence Office 
18 Thomas St. Turks Head Bldg. 


OUR CRASH V WAS USED IN BINDING THE ENTIRE EDITION OF 
COMMERCIAL ENGRAVING AND PRINTING 


822 


ALL INKS 


used for the Letterpress Printing in this edition of ComMMER- 
CIAL ENGRAVING AND PRINTING were selected to suit the vari- 
ous papers and the many color combinations by 


PHILIP RUXTON, Incorporated 


Main Office: 220 West 42nd St., New York City 


BRANCHES 


161 West Harrison St., 725 Clark Ave., 
Chicago, Lil. St. Louis, Mo. 
Merrill Park, 500 Prior Ave., 
Battie Creek; Mich, Si Paul Minn: 
270 Congress St., 
Boston, Mass. 


FACTORIES 


247 Water St., 2211 Elston Ave. 
Brooklyn, N. Y. Chicago, Il. 
Merrill Park, 
Battle Creek, Mich. 


Weak NISH RPEAND = 2211 Histon Ave, Chicago, 111. 


AGENCIES 
Denver Printers Supply Company, Southern Electrotype Company, 
403 Barclay Block, Denver, Colo. 89 Hermando St., Memphis, Tenn. 


ieeebeurtis Company, Pratt Paper Conipany, 
Seecrcreot, Atianta, Ga. 100 Eighth St., Des Moines, lowa 


Frank Lehman Company, Dudley Paper Company, 
115 Fourth Ave., Nashville, Tenn. 740 Shiawassee St., Lansing, Mich. 
Bush-Krebs Company, Whistler & Meyers, 
408 W. Main St., Louisville, Ky. 428 Boyd St., Los Angeles, Cal. 


Central Michigan Paper Company 
31 Market Ave., N. W., Grand Rapids, Mich. 


The inks used may be ordered from any of these branches, 


factories, offices or agencies. 


823 


ES RN 

1909 VoTraqd CY 1924 
W'S) SON WW 

AW Fpoat * 


S110 -S¢ ist 
Ww" 


ew ‘\ \ yy O \\ W'S 


rae” 


Lompany 
yO} WSS 5 byt ES A 


Since 1909 the Lino-Tabler System has ruled supreme in the slug-cast tabular field. 
This illustration and those shown on page 796 explain why. 


Advertising managers are sure of artistic and economical results on vertically-ruled 
catalog tabular composition if Lino-Tabler work is insisted upon, whether Linotype, 
Intertype or Linograph is used. 


Perfect ruled blank forms are preduced by the Lino-Tabler method with product of 
the foregoing machines and Monotype, Thompson or Elrod strip material. 


Note Lino-Tabler specimens in ‘“‘Manual of Linotype Typography,” pages 182, 185, 
226, 244, 251 and 252. 


Leading trade linotypers in thiee hundred cities and towns throughout North and 
South America feature Lino-Tabler work, many of them displaying the emblem shown 
below. 


CHICAGO LINO-TABLER COMPANY 


WILLIAM C. HOLLISTER, “President 
172 West Washington Street, Chicago 


¥-.-Y 7. — “rm ~ wm wW Yf\ =— “Fs A Wo 
RULE-AND-FIGURE AND RULED-BLANK COMPOSITION RULE-AND-FIGURE AND RULED-BLANK COMPOSITION 
AN (XJ = 2 — - a = 


824 


‘(DITTIMAN ‘PROCESS 


SEE DESCRIPTIVE MATTER, PAGES 799-801 IN THIS BOOK 


Produces Level Plates 


Causes No Disturbance of Present 
Pressroom Equipment 


Increases Productive Hours 


Improves Quality of the Printed 
Product 


Prolongs Life of Equipment 


Assists the Pressman in Demonstrating 
His Craftsmanship 


Saves 50% in Makeready Cost 


WM. A. FIELD COMPANY 


638 FEDERAL STREET : CHICAGO, ILLINOIS 


Manufacturers of 


UP-TO-DATE MACHINERY AND EQUIPMENT 
FOR THE ELECTROTYPER AND 
PHOTO-ENGRAVER 


ROYLE 
BALL-BEARING ROUTER 


All the good points of the No. 1 Style with added features 
of ball-bearing in all running sections. Three times and 
more as easy running as the plain bearing machine. 
Equipped with brake for quick stopping. Also all-iron 
guide rail with renewable and interchangeable steel face. 
Exhaustive tests show running life of machine is notice- 
ably increased, resulting in a router of the highest ef- 
ficiency. 


Write for particulars. 


JOHN ROYLE & SONS 
PATERSON, N. J. 


Photo-Engravers’ Machinery Routing Cutters Saws 
Lining-Bevelers Micro-Edgers Cutter Grinders 
Ellipsograph, etc. 


826 


Machines for Cutting, Printing WOLD 
and Waxing Air Brushes, Sprayers 


BOTTLE CAPS and 


Air Compressors 


A high-grade piece of 
work requires the best 
tools made. We make 
a specialty Offs Ait 
Brushes and Air Com- 
pressors for Commer- 
cialsArt. Work= and 
Photography. Inquire 
about these outfits. 

More Milk Bottle Caps are 

manufactured every day on my 

machines than on all others She 


combined. WOLD AIR BRUSH |} 
If Interested Write for Circulars M FG. COM PANY 


» é 2173 N. California Ave. 
“LOYSTER,” Cazenovia, N.Y. | CHICAGO, ILLINOIS 


ae term Deny 
Shading Mediums 


For Shading and Perfecting Drawings on 
Cardboard, Stone, Zinc, Copper, Glass, 
Aluminum and other Flat Surfaces. 


Originally Invented by 
BENJAMIN DAY 


Approved and used for years by the leading Lithographic Artists of 
the World and by the Graphic Artists of Associated Crafts. 


Every improvement made in the Rapid Shading Mediums and the 
necessary equipment, is an Additional Invention. 


Every Invention is an Improvement. 


BEN DAY, inc. 118 E. 28th St., New York City 


Sole Proprietors and Manufacturers of the Ben Day Rapid Shading Mediums. 


She UNIVERSAL 
MODEL C ENGRAVING MACHINE 


WITH ZERO ADJUSTMENT 
For Engraving Copper ‘Plates and Steel “Dies 


ITH the aid of the Universal Model C Engraving 
Machine, the engraver can triple his output, lower 
the cost of production and always give his customers a 
uniform quality of engraving. 
You will be interested in our book of testimonials, which 
will tell you just what our users think of this machine. 


Write us for our easy terms. 


ENGRAVERS & PRINTERS MACHINERY CO. 


SAG HARBOR, NEW YORK 


HAMILTON 


EQUIPMENT 
WOOD AND STEEL 


Standard in the Composing Room 
for nearly forty years 


THE HAMILTON MANUFACTURING CO. 


Main Offices and Factories: TWO RIVERS, WIS. 
Eastern Office and Warehouse: RAHWAY, N. J. 


Hamilton Goods are carried in stock and sold by all prominent Type 
Founders and Dealers everywhere 


Steel Die Embossing, Hand Stamping 
Copper Plate Presses 


HARDENING FURNACES and COPPER CUTTERS 
INKS and DIE WIPING PAPER 


All Accessories for the Engraving Department 


MODERN DIE & PLATE PRESS MFG. CO. 
BELLEVILLE, ILLINOIS 


New York Chicago San Francisco 


MILLER HIGH-SPEED PRESS 
4,000 PER HOUR 


Miller High-Speed Press 
Miller Craftsman Unit 


Miller 8x12, 10x15 and 
12x18 Ideal Units 


Miller Universal and Printers 
Bench Saw-Trimmers 


Miller Accessories 


All Contributing Aids to 


Maximum Printing 


Production 


Write for “Descriptive 
“Matter, “Prices and 
Terms 


MILLER 
SAW-TRIMMER 


COMPANY , 
Pittsbureh. - U.SeAmn 


Atlanta, Boston, Chicago, Dallas, Detroit 
Los Angeles, Minneapolis, New York MILLER 
MILLER CRAFTS. "™@ Philadelphia, St. Louis, San Francisco | SAW-TRIMMER 
MAN UNIT 


‘9Iq 10 dJlUy & YIM PpuUTy AuUyY jo s[ell ‘sassa1g Suissoquiyq ‘sossoig sulpuej3sg ‘s1ossoid 
-938W. IND OUM SOUL [Ty pue si9syey. xOg s9deqg -W0d YoOog ‘Sslapuliyn osjluy ‘Ssi9}jng JsuI0OD punoy 
‘STITAL Jodeg ‘si1sydeisouiry ‘siapuiqyoog ‘sio}ulIq ‘sassalg 91q ‘SIsWIUIy, Yyoog ‘souryseP, sunins 


GuHAdUS SACVAL SLONdOdd 


VS ‘N ‘OIHO ‘NOLAVG 
ANVdWO() ANIHOV[L GTOPAUS 


831 


To select out of the great mass of 
existing typographic material those 
type faces which time has proved to 
be the best; 

To develop these faces in conform- 
ity with modern requirements, with- 
out sacrifice of the essential character 
andartistry of the originals, yetalways 
with modern needs in view; 

To make each face availableincom- 
plete type families, each withits related 
series of ornament — selected where 
possible from the original designs, 
created where these are lacking by 
recognized masters; 

And, finally, to make all this ma- 
terial available to any printer at any 
time for any purpose of printing, that 
he may employ it confidently and in- 
telligently as the means to the best 
expression of his art: 

This is the plan and purpose of 


TYPGS@RAPHY 


MERGENTHALER LINOTYPE COMPANY 
29 Ryerson Street, Brooklyn, N. Y. 


SAN FRANCISCO CHICAGO NEW ORLEANS 
646 Sacramento St. 1100 South Wabash Ave. 549 Baronne St. 


CANADIAN LINOTYPE LIMITED, 119 Adelaide St. W., TORONTO 


Composed entirely on the LINOTYPE in the Benedictine Series 


832 


The Fastest Flat Bed and Platen Presses 
on the Market 


7,500 IMPRESSIONS PER HOUR 


The “New Era” Multi-Process Press is a high speed, flat 
bed and platen press with an intermittent web feed. Deliv- 
ery—Slit and cut into sheets or rewound. 


Attachments for perforating, punching, tag re-enforcing, 
eyeletting, numbering, etc. 


Once through the press completes the job. 


NEW ERA MFG. COMPANY 


391 STRAIGHT STREET : PATERSON, N. J. 
Do You Print from Plates ? 


The principal items that retard press- 
room output are the time required for 
lock-up, registering, make-ready and 
running. Any hold-up or delay on any 
@ of these items may mean the differ- 
© ence between profit and loss on that 
I) particular job. Electrotype plates, used 
“> inconnection with Challenge Iron Sec- 
tional Blocks and Hooks, more than 
pay for themselves by reducing to a 
minimum the time required to handle 
each one of these important items. 


6x6 


Art 
Hook 


CHALLENGE PLATE-MOUNTING EQUIPMENT 


covers every possible phase of plate-mounting for book, catalog, pub- 
lication and commercial work, labels, folding box and specialty work. 


WRITE FOR ILLUSTRATED LITERATURE ON PLATE-MOUNTING 


The Challenge Machinery Co., Grand Haven, Mich. 


CHICAGO, 124 S. WELLS STREET NEW YORK, 220 W. 19th STREET 


833 


1. Rear view Correcting, Solidifying, and Lead Moulding Machine. 2. Front view. 
3. Flat Plate Shaver with Claybourn Precision Shaving Head. 4. Precision Power 
Proof Press for Photo-Engravers. 5. Precision Plate Gauging Machine. 


LAYBOURN Precision is the essence of all the requirements for perfect 

printing. Progressive Photo-Engravers, Electrotypers, and Printers in ever- 
increasing numbers are installing Claybourn machinery and employing Claybourn 
Process Press Correction and Rectifying Service. See pages 461 and 801. 


CLAYBOURN PROCESS CORPORATION 


MILWAUKEE, WISCONSIN 


A. Curved Plate Machine (open); B, Closed; C, Curved Plate Shaver; D, Curved 
Plate Proof Press; E, Curved Plate Re-Former (open); F, Same machine with plate 
undergoing re-forming process. 


834 


SMicile 


Investment 


Purchasing a Miehle is just like buying 
a standard bond listed on the stock 
exchange. 


This is what makes the Miehle the 
favorite investment of printers every- 
where. | 


Because the principle is perfectly safe, 
in spite of the fact that the income is 
greater than is possible on any other 
press. 


Miehle Printing Press & Mfg. Co. 


Principal Office: Fourteenth and Robey Streets, Chicago 
Sales Offices in the United Slates: 
CHICAGO, ILL. - 1218 Monadnock Block DALLAS, TEX. - 312 Central Bank B‘dg. 
NEW YORK, N. Y., 2640 Woolworth Bldg. BOSTON, MASS. - - - - 176 Federal St. 
PHILADELPHIA, PA., 1015 Chestnut St. SAN FRANCISCO, CAL., 693 Mission St. 
ATLANTA, GA., Dodson Printers Supply Co. 
DISTRIBUTERS for CANADA: Toronto Type Foundry Co., Ltd., Toronto, Can. 


YOU NEVER HEARD OF A MIEHLE BEING SCRAPPED 


835 


MACBETH 
Photo Lamps 


— Camera Work and 
Printing 


POWER SPEED 
PENETRATION 
PURE WHITE LIGHT 


TYPE 7A PRINTING LAMP 


World’s Standard 


MACBETH ARC LAMP COMPANY 
ryor-r705 VINE ST., PHILADELPHIA, PA. 


THE LANGSTON PRESS FOR CORRUGATED BOARD 
AND SOLID FIBRE BOARD 


We build this Press in all sizes and types for use in printing shipping containers 


SAMUEL M. LANGSTON COMPANY, Camden, N. J. 


Manufacturers of 
COMPLETE CORRUGATED SHIPPING CASE EQUIPMENT 


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542 S.DEARBORN STREET 
CHICAGO 


212 E.SECOND STREET 
CINCINNATI 


526 NEW CALL BLDG 
SAN FRANCISCO 


he Goods with a ‘National ‘Reputation 
COPPER, ZINC 
and everything in material 
and equipment for the 
manufacturing 


Photo-Engraver. 


PHOTO-ENGRAVERS: COPPER 


NATIONAL STEEL&COPPER PLATE CO 


214 TAAFFE PLACE 
BROOKLYN 


1101 LOCUST STREET 


ST. LOUIS 


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Miehle Printing Press & Mfg. Co. 


14th and Robey Streets - CHICAGO, ILLINOIS 


The Miehle-Vertical makes real the Printer’s 
dream of big production. 

It is a high-speed, extremely simple and thor- 
oughly automatic job press capable of producing 
easily the widest range of printing. It has rapidly 
won the unqualified approval of printers every- 
where. It is certain that you need a Miehle- 
Vertical as part of your equipment. 


City Office -— > 29) sae eee ee Monadnock Block 
New York;iNi3Y. 2 eee _.. 2640 Woolworth Bldg. 
Philadelphia, Pas 40m ae Jefferson Bldg., 1015 Chestnut St. 
Boston)! Massa ee ee ee ee 176 Federal St. 
San Francisco,.Calitr= 2) ee . 693 Mission St. 
Dallas; Dex asieevna. 0 ee Sly, 312 Central Bank Bldg. 
Atlanta;i'Gas (ae 294 ee ee Dodson Printers Supply Company 


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